V for Vendetta
FADE IN:
In the darkness, we hear a voice, a woman's voice. Her name
is Evey.
EVEY (V.O.)
"Remember, remember, the fifth of
November, the gunpowder treason and
plot. I know of now reason why the
gunpowder treason should ever be
forgot."
Her voice has a strength that is metered by a calmness, a
deep centered peace that we can feel.
EVEY (V.O.)
Those were almost the very first
words he spoke to me and, in a way,
that is where this story began,
four hundred years ago, in a cellar
beneath the Houses of Parliament.
In the darkness, we find a lantern. Guy Fawkes, a dangerous
man who wears a goatee, is struggling with a wheelbarrow
stacked with barrels of gunpowder.
EVEY (V.O.)
In 1605, Guy Fawkes attempted to
blow up the Houses of Parliament.
The wheelbarrow bumps over the heavy stone mortar of the
cellar floor. From the dark depths, we hear the sound of
dogs.
EVEY (V.O.)
He was caught in the cellars with
enough gunpowder to level most of
London.
Guy sees lanterns coming from both sides. He tries to run as
the dogs reach him first. He grabs for his sword as dozens
of pole axes pin him against the tunnel's stone wall.
EVEY (V.O.)
Sometimes I wonder where we would
be if he hadn't failed. I wonder
if it would have mattered.
In the dim pre-dawn light, Guy is led to the gallows.
EVEY (V.O.)
I suppose the answer is in the
rhyme. More than the man, what we
must remember is the plot itself.
The coarse noose of rope is snugged up to Guy's throat. He
looks into the crowd until he finds a face, a woman's face,
staring up at him.
EVEY (V.O.)
For in the plot we find more than
just a man, we find the idea of
that man, the spirit of that man,
and that is what we must never
forget.
The lever is thrown and the woman looks down, a tear falling
down her face.
EVEY (V.O.)
This, then, is the story of that
idea, of that spirit that began
with an anarchist's plot four
hundred years ago.
Guy's body hangs in silhouette, lifeless against a red
morning sun.
FADE OUT.
FADE IN:
INT. SUBURBAN HOUSE
A young Evey sits on her father's lap, combing her Barbie's
hair.
EVEY (V.O.)
I was born near the end of the
millennium, the year 1997. My
father used to say that people were
so afraid that the world was going
to end that they were willing it to
happen.
Her father sits beside her mother on the living room couch,
watching the news. From the look on their faces, the news is
bad.
EVEY (V.O.)
I don't remember much of the
century's turn. I don't remember
the market crash or the plague or
any of the Trafalgar riots.
The television flickers with images of heavily armed soldiers
fighting in a shelled city.
EVEY (V.O.)
I've read about them since but I
don't recall how any of them
impacted my life except for the
fear. They would hide it from me,
Little Evey sees her father staring at her mother. They
take hold of each other's hand, clasping them tight.
EVEY (V.O.)
But I could feel it.
EXT. CITY STREET
It is a new day. People are gathered along the street as if
they were waiting for a parade.
EVEY (V.O.)
Of the chaos that seemed to swallow
the beginning of the 21st century,
there is one thing I do remember.
Evey holds her father's hand. Unable to see what is coming,
she can hear it.
EVEY (V.O.)
Very clearly, I can remember that
sound.
We hear them, hundreds of marching soldiers.
EVEY (V.O.)
And I remember those boots, black
leather that gleamed bright in the
morning sun. I had never seen such
boots. All moving in perfect
unison.
Little Evey hides in the forest of adults, clinging to her
father's leg, staring as row after row of boots march by with
military precision.
EXT. CITY STREET
In the midst of a political rally for the emerging new party
calling itself Norsefire, we find little Evey now on her
father's shoulders.
Dascombe, a young man, paces the podium, inciting the crowd.
DASCOMBE:
The time has come, London, to
return to a bygone age, an age of
tradition, an age of values that
have been disparaged and all but
forgotten. What this country needs
is a leader! A true leader to
remind us of that age. A righteous
leader with the strength of his
moral convictions to do what must
be done. I give you that man! I
give you our leader! Adam Susan!
Adam Susan rises and the crowd cheers. Evey's father looks
at her mother and again they clasp hands.
EVEY (V.O.)
It must have seemed so easy to
them. They offered such a simple
deal; give up control and we will
restore order.
INT. SUBURBAN HOUSE
Little Evey is asleep in her bedroom.
EVEY (V.O.)
At first, the arrests were
political. Dissidents. Radicals.
Liberals.
A loud crash of splintering wood wakes her up.
EVEY (V.O.)
When my parents were younger, they
had been activists. They had
marched with Labor in the great
train strike.
The sound of heavy boots swarms through the house.
LITTLE EVEY:
Mommy?
Her bedroom door bursts open and a heavily armed soldier
scoops her up.
She is carried through the dark house which is filled with
soldiers. On the floor of the living room, she sees her
parents being bound with plastic zip-ties.
MOTHER:
My daughter! Don't take my
daughter!
FATHER:
Evey! Evey!
LITTLE EVEY:
Mommy! Daddy!
A heavy black hood is pulled over each of her parent's heads
as Evey is carried out of the house.
EVEY (V.O.)
I never saw them again. Overnight,
erased.
INT. BATHROOM
A nun with a switch in her crossed arms watches as Evey and
several other little girls scrub the floor of a dormitory
bathroom.
EVEY (V.O.)
It was done so quickly and
violently, so completely, that it
began to seem that it had never
even existed.
A tear rolls down Little Evey's cheek.
EXT. HOUSE
A gay man is dragged violently from his Piccadilly home.
Outside, he sees his lover being forced to the cobblestones.
EVEY (V.O.)
The homosexuals were next. What
God had started with AIDS had to be
finished by man. It was God's
work. That's what we were told.
He reaches for him as the clubs rise and fall, vicious and
bloody.
EVEY (V.O.)
But once they were gone, there was
someone else. Someone different.
In another neighborhood, we see the police arresting
Pakistanis.
EVEY (V.O.)
Someone dangerous.
In a different area, young black men are packed into a caged
van so tightly they are unable to move.
EVEY (V.O.)
There were those who understood
what was happening, who knew it was
wrong but who kept silent.
A young detective named Finch looks down as the van pulls
away. When he looks up, another man in a military uniform
whose name is Almond is watching him.
EVEY (V.O.)
And in the vacuum of that silence,
order was imposed.
Finch sticks his pipe in his mouth and turns away.
EXT. STREET
Again, we see the marching boots.
EVEY (V.O.)
Order that was like those boots,
order that required rigorous
discipline. Order that is exactly
the same, where each single step
falls with every step. The order
of the many shaped into one.
We move through the columns of marching soldiers to a wall
where a poster has been plastered up. The poster reads,
"Strength Through Purity, Purity Through Faith."
EVEY (V.O.)
Somehow in my heart, I knew it
wouldn't last.
As the sound of the marching fades, a shadow falls over the
sign.
After a moment, we hear the hiss of spray paint.
EVEY (V.O.)
What they thought they had crushed,
the spirit they believed trampled
and ground beneath the marching of
their boots, rose up, rose as if
from a four hundred year old grave,
rose to remind us all that day.
The shadow sprays a "V" over the poster.
FADE OUT.
FADE IN:
Close on a loudspeaker. There is one on every major street
corner.
FATE (V.O.)
Good evening, London. It's nine
o'clock, the fourth of November in
the year 2019 and this is the voice
of Fate broadcasting on 275 and 285
of the medium wave.
Beneath the loudspeaker is a surveillance system labeled,
"For your protection."
Bubble eyed lenses iris at the end of stalks that move,
insect-like, racheting and clicking as they watch a little
girl pedal her bicycle. The little girl glances nervously
over her shoulder up at the mechanical eyes watching her.
FATE (V.O.)
People of London, be advised --
EXT. EVEY'S APARTMENT
There is a radio on a small makeup table.
FATE (V.O.)
-- that Braxton and Streathon are
quarantine zones as of today.
Evey is now a young woman. She slips into a dress that is
little more than a nightgown. She tries to adjust it,
pulling it down at the hem, pulling it up at the thin
shoulder straps, but it is like trying to hide behind a
lamppost.
FATE (V.O.)
It is suggested that these area be
avoided for reasons of health and
safety.
INT. SHADOW GALLERY
Another radio in a room that seems to be of another world.
FATE (V.O.)
Good news following the
productivity reports from
Herefordshire indicating a possible
end to meat rationing starting mid
February.
A man enters the room as he once entered the world. His body
is lean and strong and though we do not see his face, there
is a strength in his carriage, a power to his presence.
INT. EVEY'S APARTMENT
She packs tissue paper into the toes of a pair of high heels
that are too big for her.
FATE (V.O.)
Police raided seventeen homes in
the Birmingham area, uncovering
what is believed to be a major
terrorist ring.
INT. SHADOW GALLERY
We move over a dressing bureau, past a wig and over a pair of
black leather gloves, moving until we find the mask; it is
like something from the masquerade ball of another era. It
has an exaggerated goatee, harlequin cheeks and a smile,
forever fixed, at once be-guiling and be-deviling.
FATE (V.O.)
Twenty eight people, eight of them
women, are currently in detention
awaiting trial.
INT. EVEY'S APARTMENT
Evey coats her lips with a lascivious red. She stares into
the mirror, her makeup like a mask over her own face.
FATE (V.O.)
And that is the face of London
tonight.
INT. SHADOW GALLERY
The man, now fully dressed in cloak, hat, and mask gazes into
the mirror.
This is V.
FATE (V.O.)
And this is the voice of Fate
signing off and bidding you a
pleasant evening.
EXT. CITY STREET
Close on Evey's high heels, stumbling and awkward as she
walks down a dark cobblestoned street.
EXT. CITY STREET
Close on V's boots walking in the opposite direction so that
it seems they are walking towards each other.
EVEY (V.O.)
I don't know what brought us
together that night. I had never
been to that part of Westminster
but ever since I've known him, I've
stopped believing in coincidence.
EXT. CITY STREET
Evey looks up and sees a man standing mostly in shadow.
EVEY:
Excuse me? Uh... excuse me,
Mister?
The man turns around. It is not V.
EVEY:
Would you like... uh, would you
like to sleep with me?
He smiles.
EVEY:
I mean, for money.
MAN:
That is the clumsiest bit of
propositioning I've ever heard.
EVEY:
Oh god, I'm sorry.
MAN:
Is this your first time, darling?
EVEY:
Yes, no, I mean for money. But I
know what you want and I'll do it.
She presses her body to his, using her little girl eyes and
her woman's mouth.
EVEY:
Anything you want, mister. Please,
I need the money. I know I'm young
but I promise I know what I'm
doing.
MAN:
No. You don't know what you're
doing.
He pulls out his wallet and shows her a badge. The sight of
it knocks the breath out of her.
EVEY:
Christ, you're a Fingerman.
FINGERMAN 1
Give the little lady a prize.
FINGERMAN 2
I've got something to give her.
Evey turns and there are more Fingermen behind her.
FINGERMAN 1
Prostitution is a class H offense.
Know what that means? It means
that we get to exercise our own
judicial discretion --
FINGERMAN 2
And you get to swallow it.
The Fingermen laugh.
EVEY:
Oh god, please. It's my first
time. Please don't hurt me.
FINGERMAN 1
Gosh, fellas, look at those big
innocent eyes. What do you think?
FINGERMAN 3
Spare the rod, spoil the child.
Fingerman 2 laughs hard as he drops his pants.
EVEY:
Oh no!
He shoves her face first against a brick wall, lifting her
dress to expose her bottom.
EVEY:
Please, don't!
FINGERMAN 3
You heard the man, sweetie. This
rod's for your own good.
Suddenly, they are no longer alone.
V:
"The multiplying villainies of
nature do swarm upon him."
FINGERMAN 3
What the hell --
V:
"And fortune, on his damned
quarrel, smiling, showed like a
rebel's whore."
FINGERMAN 1
We're police officers, pal.
FINGERMAN 4
We're with the Finger.
FINGERMAN 3
So bugger off!
V:
"Disdaining fortune with his
brandished steel, which smoked with
bloody execution."
In the clenched fist of black leather, we see a flash of
steel.
FINGERMAN 1
He's got a knife!
V attacks and at once we know this is no normal human being.
A single blow sends the largest of the Fingermen flying
backwards.
But more than his strength, it is his speed.
A gun is cocked but before the hammer falls, a knife is
buried in the Fingerman's chest and --
Before the body falls, the knife is gone.
It takes a handful of seconds and three bodies lay on the
ground. V turns to the last Fingerman who is struggling to
pull his pants up.
FINGERMAN 3
Jesus Christ! Don't hurt me!
V steps forward and he screams, bolting while holding his
pants up.
V:
Good evening.
EVEY:
Who -- Who are you?
V:
Me? I imagine all manner of names
shall be heaped upon my humble
visage but, for now, let us simply
say I am the villain.
He throws wide his cloak and bows deeply to her.
V:
And you would be?
EVEY:
Evey.
V:
Of course.
They hear sirens rushing towards them. In a blink, he scoops
her up and dashes into the shadows of a narrow alleyway.
EXT. ROOFTOPS
Police cars and several ambulances swarm over the area with
the dead Fingermen.
V watches them from above.
EVEY:
Why did you do that? Why did
you... help me?
V:
Why indeed?
He takes out an old antique pocket watch. It is almost
midnight.
V:
Almost time.
EVEY:
For what?
V:
For the music.
EVEY:
Music?
V:
Yes, music. My music. You see.
Evey, I am a performer.
EVEY:
Is that why you're wearing a mask?
V:
We all wear masks. Life creates
them and forces us to find the one
that fits. Do you know what day it
is?
EVEY:
Uh... November fourth.
V:
Not for long.
He looks out where, rising above the rooftops, he can see Big
Ben.
V:
"Remember, remember, the fifth of
November, the gunpowder treason and
plot. I know of no reason why the
gunpowder treason should ever be
forgot."
The second hand sweeps into the final minute.
V:
Tell me, Evey, what good is an
actor that plays his part to an
empty theatre?
EVEY:
I don't know.
V:
Nor do I. That's why you are here.
I need you, Evey. I need someone
to listen.
EVEY:
To your music?
V:
Yes. Yes, to my music.
From his sleeve, he pulls a conductor's wand.
V:
Can you hear it? It's already
begun.
He begins to lightly tap the wand in the air and, very
faintly, we hear it.
EVEY:
I can't hear anything.
V:
At first, you have to listen very
carefully...
He continues to conduct and we begin to hear the music,
violins and horns that seem almost like a whisper or a wind
that steadily swells.
V:
Ahh, yes. There it is. Beautiful,
is it not?
He turns to the parapet, his gestures growing grander as the
music rises and we recognize Tchaikovsky's 1812 overture.
The music mounts a climax and V points the wand at Big Ben as
cymbals crash --
Big Ben explodes with such force the world seems to shake,
while --
V, smiling, always smiling, points again with another
crescendo and --
The statue of justice is blown to smithereens.
V nods in appreciation while mustering the music towards it's
finale as fireworks begin lighting up the sky.
EVEY:
Oh my...
Everywhere across the city, people stand transfixed by the
dazzling shimmer of the fireworks until --
A strobing final blitz leaves a single, starry image floating
It is the letter V.
EVEY:
It's beautiful...
V:
Thank you.
From every direction, the city screams with the panicked
sound of sirens.
EXT. NEW GOVERNMENT BUILDING
A massive modern building that is the seat of the new
government.
A long, black car pulls up to the entrance. Adam Susan gets
out, wearing a long black trenchcoat over his pajamas. He is
the Leader and he looks older, heavier, and meaner.
He hurries past the heavily armed guards, barely
acknowledging the snap and cock of their Nazi-like salute.
INT. LEADER'S OFFICE
The Leader enters his main chambers and we see the Fate
computer system.
It is a cerebral cortex for a vast intelligence network.
Information can almost be felt coursing through its hard
drives.
The Leader sits, at once regaining a measure of composure.
He takes a deep calming breath and accesses the system.
Dozens of monitors fill with images from all across the city,
most of them are of the damage caused by V.
LEADER:
Gentlemen, I will hear your reports
now. Mr. Heyer, speak for the Eye.
Conrad Heyer appears on one of the screens. He is at his
desk inside the command center for the Eye, the governmental
organization responsible for the visual surveillance systems.
CONRAD:
We have less than two minutes of
usable footage, Leader. It took
the suspect less than a minute to
dispatch the Finger's vice patrol.
On an insert screen, we see grainy footage of V rescuing Evey
from one of the pole-mounted cameras.
CONRAD:
As you can see, the suspect's
reflex speed is extraordinary. As
is his strength.
As the last body falls, V seems to pause and looks back over
his shoulder straight into the camera.
LEADER:
Freeze it!
The Leader stares at the smiling face.
CONRAD:
I'm afraid the mask makes retinal
identification impossible.
LEADER:
Mr. Etheridge, report for the Ear!
Bunny Etheridge appears on another screen. Behind him, huge
spooling reels of audiotape wind constantly.
ETHERIDGE:
We were able to triangulate the
origin of the fireworks. We also
are currently monitoring a lot of
phone surveillance indicating a
high percentage of conversation
concerned with the explosions. All
suspect or significant transcripts
are being forwarded to Mr. Almond.
LEADER:
Very good. Mr. Finch, speak for
the Nose.
Finch, no longer the same young man, stands at the site of
the fireworks launch.
FINCH:
Thanks to Etheridge, we found the
launch for the fireworks. These
appear to be individually weighted
flares and we have found traces of
the same chemicals at both of the
detonation sites which leads us to
conclude that, despite a level of
sophistication, these devices are
all home-made with over the counter
chemicals, making them impossible
to trace. Whoever he is, Leader,
he's good.
LEADER:
Thank you for that professional
annotation.
An intercom opens.
LIEUTENANT (V.O.)
Leader, Mr. Almond has arrived.
LEADER:
Very good. Gentlemen, keep me
informed of any further
developments. England prevails.
They answer in unison as Almond enters the office. His face
is harder but he has the same violent gleam in his eye.
The Leader turns in his chair.
LEADER:
Mr. Almond, do you know what this
is behind me?
ALMOND:
Uh... the Fate computer system,
sir?
LEADER:
No. No sir. It's more than that.
This, this computer is a symbol,
Mr. Almond. A symbol of the
highest attainable goal of mankind.
Do you know what that goal is, Mr.
Almond?
Almond does not. The Leader leaps from his chair while
pounding the desk.
LEADER:
Control, Mr. Almond! Control! The
world around us is a changing,
directionless, amoral morass and it
is up to man and man alone to set
things right!
He moves around the desk at Almond.
LEADER:
Without control, man is nothing
more than any other stinking,
sweating, brute animal. Control,
Mr. Almond. The control that we
have painstakingly built up over
the last ten years. Now, do you
understand what happened last
night?
ALMOND:
We... lost control.
LEADER:
Yes, Mr. Almond. Last night
someone did the unthinkable.
Someone hurt us. It is imperative
that we act swiftly and precisely.
I want that man found, Mr. Almond.
I want his head or, by god, I'll
have yours.
INT. SHADOW GALLERY
Evey is wearing a blindfold and V leads her by her
fingertips, guiding her almost as if they were dancing...
His fingers slip free of her and she reaches out.
EVEY:
Wait. I've lost you.
V:
No, you haven't.
He is behind her and he removes the blindfold, revealing his
house to her.
EVEY:
Oh...
It is a labyrinth of interconnecting underground tunnels and
rooms.
The gallery is the main room as it is filled with an amazing
collection of human culture. There is art that spans from
the renaissance to the painted covers of Eerie comics,
literature that ranges from Shakespeare to Spillane,
philosophy from Plato to Bukowski, and a vast collection of
nonfiction.
There are movie posters everywhere and an entire wall is
lined with videocassettes.
A jukebox stands in front of an enormous vinyl and CD
collection of music.
EVEY:
A jukebox? Where did you get it?
V:
I saved it. Like everything here.
She punches a button and Billie Holiday begins to sing.
EVEY:
Oh, it's beautiful. I've never
heard anything like it.
V:
Of course not. You grew up in
their world. Art is created by
individuals and there are no
individuals in a world where you
are told what to think.
EVEY:
This place is amazing.
V:
You're welcome to stay.
She stops suddenly and looks at him. The offer is terribly
exciting but it is so unlike anything she has ever done that
it's almost impossible to imagine.
EVEY:
Stay here... with you?
V:
Yes. If you like.
EVEY:
I... I don't even know your name.
V:
I don't have a name. But you can
call me V.
EVEY:
V? V... I like that.
And she returns his smile.
EXT. JORDAN TOWER
The only operating broadcast tower in London; home of the
Mouth.
Lewis Prothero leans forward and lets his voice pour like
syrup over the microphone.
PROTHERO:
Good morning, London. This is the
voice of Fate -- Damn.
He stops and coughs.
PROTHERO:
Good morning -- ack. Good morning
Lond-- Goddammit! Where is my
bloody tea?!
In the control booth, Roger Dascombe, his hair thinner now,
rubs his temple.
DASCOMBE:
Would someone get his lordship his
bloody tea?
He clicks on the microphone.
DASCOMBE:
Lewis, they want this report on the
first hour --
PROTHERO:
I know. I know. Damned
inconvenient this entire affair.
Fine. Let's try again.
He clears his voice and the red "record" light turns on.
PROTHERO:
Good morning, London. It is 6 am,
the fifth of November 2019 and this
is the voice of Fate. The new day
brings good news and bright
prospects from overseas, where
negotiations with New China are
moving in a positive direction.
Last night's scheduled demolition
of two deteriorating landmarks went
off without a hitch.
Dascombe is unable to stop himself from smiling.
PROTHERO:
Spokesman for the Interior ministry
said both structures were severely
damaged and judged to be a danger
to the unsuspecting public. Plans
for new landmarks are well
underway.
Prothero sits back, shaking his head.
PROTHERO:
Do you believe this crap, Dascombe?
DASCOMBE:
It's not our job to believe it,
Lewis. Our job is to tell the
people --
PROTHERO:
"Exactly what they tell us." I
Know but do you think that people
will believe it?
DASCOMBE:
They will if it's you that's
telling it to them. Now let's try
it again.
INT. SHADOW GALLERY
V is alone, listening to the first morning broadcast.
PROTHERO (V.O.)
... plans for new landmarks are
already well underway.
He clicks off the radio. Walking down a hall, he stops and
peers into Evey's new bedroom.
She is fast asleep, looking remarkably at peace. Quietly, he
shuts the door.
EXT. TRAIN STATION
People are hurrying to board a departing train.
INT. TRAIN CAR
Prothero is staring out his window.
PROTHERO:
"Remember, remember, the fifth of
November..."
He talks to his bodyguards almost as if talking to himself.
PROTHERO:
Do you suppose that's why he did
it?
BODYGUARD 1
Sir, who did what, sir?
PROTHERO:
Guy Fawkes. He tried to blow up
Parliament.
The guards look at each other, confused.
PROTHERO:
Don't they teach history in school
anymore?
BODYGUARD 1
Sir, we're both straight military,
sir.
BODYGUARD 2
Sir, yes, sir. I was fighting in
Ireland by the time I was sixteen.
PROTHERO:
Yes, of course. My mistake.
He turns back to his window.
EXT. RAILROAD
The train rumbles along, heading for a tunnel.
INT. TRAIN CAR
Prothero watches the countryside rolling past.
PROTHERO:
I love trains. I remember riding
the underground with my father.
Shame they shut them all down.
Bodyguard 1 looks out the opposite window just as the train
enters the tunnel.
BODYGUARD 1
What the hell's that!
EXT. TRAIN
For a flashing instant, we see V in silhouette, cloak
swirling around him like dark wings as he jumps from the
bridge onto the train.
INT. TRAIN CAR
Prothero and Bodyguard 2 stare at Bodyguard 1.
BODYGUARD 1
I thought I saw a man jumping onto
the train.
BODYGUARD 2
The train's doing almost seventy.
BODYGUARD 1
You're right, I... It must have
been rags.
EXT. TRAIN
Deep in the tunnel, a dark figure glides across the rooftops.
INT. CONDUCTOR'S CAB
The conductor hears something on the roof. He peers up just
as V swings down, smashing feet first into the cab.
INT. TRAIN CAR
The brakes suddenly lock, throwing Bodyguard 2 into Prothero.
PROTHERO:
Get off of me!
A moment later, the lights are cut off and the entire train
is plunged into complete darkness.
BODYGUARD 2
What the f*** is going on?
BODYGUARD 1
Lock the car doors.
PROTHERO:
I have a lighter... somewhere...
BODYGUARD 2
I can't find the lock -- wait. Hey
wha--
There is a muffled shriek followed by a sharp snap.
BODYGUARD 1
What's happening --
There is another sound, like the leather slap of a boxer
pounding a heavy bag, followed by the sound of the heavy bag
collapsing onto the floor.
PROTHERO:
I found it!
He flicks on the lighter and, in the dim light of its flame,
he sees the smiling face.
PROTHERO:
Oh god.
V sits casually, arms folded, across from Prothero. The
bodyguards lay dead on the floor.
PROTHERO:
Who are you? What do you want?
Money? Is that it?
V just smiles.
PROTHERO:
Wait, wait. You're, you're the one
that blew the Bailey.
V nods and Prothero's eyes go wide.
PROTHERO:
You're making a mistake. I'm
nobody --
On the floor, he sees the bodyguard's gun. He kills the
lighter and dives for it.
In the darkness, we hear the struggle. It ends quickly.
When the lighter flicks back on, V is holding it and the gun.
PROTHERO:
Oh god, what do you want?
V:
I've come to offer you a choice.
Commander Prothero.
PROTHERO:
What -- What did you call me?
V:
Commander Prothero.
Prothero's heart begins to pound.
V:
That was your title at Larkhill.
You remember Larkhill, don't you,
Commander?
EXT. LARKHILL RESETTLEMENT CAMP - FLASHBACK
A sign reads, "Larkhill Resettlement Camp."
V (V.O.)
Where they sent the undesirables.
A caged truck packed with minorities rolls into the gates
which are topped with spools of razor wire.
INT. TRAIN CAR
Prothero is sweating.
PROTHERO:
I don't know what you're talking
about.
V:
Maybe I can help your memory.
Let's see. Larkhill opened in the
summer of 2009. You were appointed
it commander. You wore a uniform
in those days. You looked very
good in it.
INT. LARKHILL - PROTHERO'S OFFICE - FLASHBACK
Prothero admires his uniform in the mirror.
V (V.O.)
You were a man of many
responsibilities. You made sure
Larkhill made all its quotas,
especially the oven quotas even
though they required an excessive
amount of maintenance.
EXT. LARKHILL OVENS - FLASHBACK
We see a detail of black and Indian men, shoveling mounds of
black ash from a series of furnace like ovens.
As the shovels lift, we see blackened bones and burnt skulls.
EXT. LARKHILL MAIN YARD - FLASHBACK
Prothero saunters through the lines of camp prisoners.
V (V.O.)
But there was one task you took to
with exceptional relish. Remember
the medical block, Commander? I
believe you called it the funny
farm. You were the one that
selected the prisoners. You hand
picked each one.
Prothero steps in front of a woman who remains beautiful
despite the suffering she has endured. Prothero smiles.
PROTHERO:
Her.
As the guards grab her, we become aware of a man that is
staring at Prothero. He is one of the prisoners but we do
not see his face.
Prothero notices the man. He doesn't like the way the man is
staring at him.
PROTHERO:
You.
INT. TRAIN CAR
Prothero is terrified.
PROTHERO:
You! You're him, aren't you?
V nods.
PROTHERO:
Oh my god! What are you going to
do?
V:
You gave us a choice, remember,
Commander? You said we could
cooperate with the doctors or...
V c*cks the gun.
V:
Hold out your hand.
Trembling, Prothero sticks out his hand. V lets the light
die for a moment.
When he flicks it back on, Prothero is holding a long, metal
syringe filled with a murky liquid.
PROTHERO:
Oh no, no! Please I was just doing
what I was told!
V:
Of course you were. Now I'm
telling you to make a choice.
Either you stick that syringe into
your neck or --
He presses the gun barrel to Prothero's forehead.
V:
I can kill you right now.
Prothero begins to blubber.
V:
Crying doesn't help, Commander. I
remember there was a woman who had
been screaming for two days. You
winked at the doctor and laughed,
"All in the name of science."
PROTHERO:
Please, don't make me do this...
V:
It's a difficult choice, isn't it?
Certain death versus something that
might be... worse. But you never
know. There is still a chance.
You could survive. Look at me.
Now, time's up, Commander. Choose.
Anger galvanizes his fear and steadily Prothero lifts the
needle towards his neck.
PROTHERO:
I'll see you in hell.
He jams the needle in and sinks the plunger.
V:
Yes. I'm quite sure you will.
INT. TRAIN
Train workers with flashlights hurry through the cars.
TRAIN MAN:
This door's locked!
He slams a shoulder against it and the door gives in.
TRAIN MAN:
Holy Christ!
Flashlights sweep over the dead bodyguards. The train man
hears a strange gurgling rasp and he turns, finding Prothero
in his light.
TRAIN MAN:
What happened here?
Prothero is foaming at the mouth while a thick mucus bubbles
from his nose. His breath comes in tiny rasps.
TRAIN MAN:
Good lord! I need a medic here.
Prothero becomes more animate, trying to tell the man
something.
PROTHERO:
Fi... Fi... Fi...
TRAIN MAN 2
He's trying to say something.
PROTHERO:
Five.
TRAIN MAN 1
Five? Where's the goddamn medic?
PROTHERO:
Room five.
Suddenly, his body convulses and blood pours out his ears.
His body slumps over.
TRAIN MAN 2
EXT. TRAIN STATION
The station is swarming with police. A stretcher wheels a
body in a black plastic bag out from Prothero's car.
INT. TRAIN CAR
Finch puffs on his pipe, staring at something spray painted
on the wall of the train car: a "V" with a circle around it.
DOMINIC:
What do you make of this, Mr.
Finch?
Dominic, Finch's younger assistant, is holding a flower in
FINCH:
Hmm. It's a rose. A violet
carson, I believe. Strange.
DOMINIC:
Strange?
FINCH:
I didn't think they still existed.
SOLDIER:
Mr. Finch! Sir!
Finch turns as a soldier with a radio steps into the car.
SOLDIER:
Sir, they want you at headquarters,
sir.
FINCH:
Now?
SOLDIER:
Yes, sir. I'm to transport you
immediately.
FINCH:
Send the rose to the lab. Also,
scrape a sample of this paint and
have it analyzed as well. I'll be
back as soon as I can.
INT. LEADER'S OFFICE
The door opens and Finch steps in.
LEADER:
Ah, Mr. Finch. I sent for you
because what I have to say cannot
be said over a phone or a radio.
What I have to say cannot leave
these four walls. Do I make myself
clear?
FINCH:
Yes, sir.
LEADER:
I believe in a few things, Mr.
Finch. I believe in god. I
believe in the destiny of the
Nordic race. And I believe in
fascism. The romans invented
fascism. They had a symbol for it;
a bundle of twigs bound together.
One twig could be broken but a
bundle would prevail. That is the
heart and soul of fascism.
Strength in unity. I tell you
these things knowing full well that
they make you uncomfortable.
FINCH:
Well, I...
LEADER:
You have in fact expressed your
discomfort in several arrest
reports, arrests that were, in your
opinion, "unnecessary." The fact
that you are here, that you are not
rotting in a prison cell, is a mark
of my respect and admiration for
you, for your craft, and for what
you have done for this country.
Finch looks at the ground.
LEADER:
It is also because I know you,
Finch. I know what you are.
You're a man like me. A man who
understands when they are given a
job what must be done. I
understand you, Finch, and that is
why I can trust you.
LEADER:
This terrorist knows us, Finch.
These attacks are perfectly
calculated and they are divisive.
He knows what he's doing, Finch.
He knows us all too well.
FINCH:
You think he's an insider?
LEADER:
What I think is that this man must
be stopped. Stopped at all costs
and no one, I repeat, no one is to
be placed above suspicion. Do I
make myself clear?
FINCH:
Perfectly.
LEADER:
England prevails, Mr. Finch.
FINCH:
England prevails.
INT. SHADOW GALLERY
Evey, alone in the Shadow Gallery, stares up at the
inscription above the crooked staircase.
EVEY:
V, v, v, v, v.
V:
I hear your summons, my lady. And
obey.
She jumps, V suddenly appearing behind her.
EVEY:
Oh, V, you scared me.
She turns back to the carving.
EVEY:
I was reading the inscription.
What is it?
V:
A Latin quotation. A motto. "Vi
veri veniversum vivus vici." "By
the power of truth, I, while
living, have conquered the
universe."
She nods.
EVEY:
Yes, I suppose you have. This
place is the only universe I have
right now.
V:
Does that bother you?
EVEY:
I don't know. I'm so grateful to
you -- I just feel I should help
you, you know, the way you're
helping me. I mean, that's the
deal, isn't it?
V drifts over to the big old Wurlitzer, fingers scanning the
song list.
V:
No deals, Evey. Not unless you
want them.
She looks up at the inscription as an old blues song begins
to play.
EVEY:
I think I do. Part of me wants to
stay here forever and never have to
face what's going on outside. But
that's not right. Is it? That's
not taking responsibility. Not
conquering my universe.
She turns to him.
EVEY:
I want to help you, V. I want to
do something. Can we make a deal?
V:
Yes. I think we can make a deal if
you like. I think I know a way you
could help me very soon indeed.
Evey smiles nervously.
EVEY:
Good. That's that, then.
The blues song curls in the air around them like a heavy
incense.
EVEY:
V, you said that Latin thing was a
quote. Who said it?
V:
Nobody you'd have heard of. A
German gentleman named Dr. John
Faust.
He spins her.
V:
He made a deal too.
EXT. WESTMINSTER ABBEY - DAY
The church doors have opened with the flow of parishioners as
the final mass of the day has ended.
The tide slowly pours out onto the sidewalk, separating
around the clumps of people that conglomerate to network and
gossip.
Church bells toll in the orange dusk above them.
Helen Heyer, a woman whose spite and guile are hidden behind
her looks and clothes she drapes them with, charges into the
gossipers, her trophy husband in tow, a timid looking man
that we recognize as Conrad Heyer.
CONRAD:
Hello, Rosemary. Derek, how --
Helen's head snaps over at the mention of the name.
HELEN:
Derek!
She pushes past Conrad, giving Derek Almond an exuberant kiss
on both cheeks.
HELEN:
Darling, how are you? Hello,
Rosemary.
Always behind her husband, Rosemary Almond smiles nervously
as she straightens her drab church dress.
ROSEMARY:
Hello.
DEREK:
It's so good to see you. Since
this bloody terrorist business, the
old man has me literally chained to
the office.
Helen pouts at him.
HELEN:
Oh, you poor dear.
Derek taps the bottom of his cigarette box, drawing one with
his lips.
DEREK:
It comes with the job. How are
things in the Eye, Conrad?
CONRAD:
Well, we've been working some bugs
out of the new Mark IX fiber optic
network, actually --
HELEN:
Oh, Conrad, don't be such a bloody
bore. Do tell us about the
terrorist, Derek. Is it true he
blew up Big Ben and the old Bailey?
DEREK:
I'm afraid so. We're dealing with
a pathological psychotic in the
most extreme case. We'll catch him
though. I promise.
Helen rubs her white sable against her body.
HELEN:
Oh, it sounds dreadfully exciting.
Aren't you glad you've got such a
ruthless, implacable brute for a
husband, Rosemary?
ROSEMARY:
Yes, well --
HELEN:
Believe me, you're lucky. You
could be struck with a professional
peeping tom like Conrad. England's
highest paid voyeur, aren't you
darling?
CONRAD:
HELEN:
Oh yes, of course. We have to get
back so the little pervert can
watch what the neighbors do after
Sunday lunch. He's so exciting.
Derek laughs as they climb into their car.
HELEN:
Ciao!
DEREK:
Goodbye, Helen. Conrad.
Rosemary waves as it pulls off.
ROSEMARY:
She's a bit hard on him, isn't she?
Derek sneers at her.
DEREK:
Until you're half the woman of
Helen's sophistication, I'd keep
He throws the cigarette at her feet.
DEREK:
Really, just look at the way you
dress.
INT. WESTMINSTER ABBEY
From above, a hand sweeps aside the red plush curtain.
LILLIMAN:
Ah, there they go. My happy and
contented flock. Spiritually
refreshed and ready to face the
world again.
Bishop Anthony Lilliman is a slender man of pious elegance
with a warm, beautiful smile.
He turns from the window to his valet, Dennis, as Derek and
Rosemary get in their car.
LILLIMAN:
Did you enjoy the sermon today,
Dennis?
DENNIS:
Very inspiring, your grace. Though
the segue of the forces of Satan
among us did strike me as a bit of
a curious digression.
He whisks a lint brush over the Bishop's robes before putting
them away.
LILLIMAN:
Hmm, yes. A trifle purple, I
thought. Still, Fate wanted it
included and who are we to question
the will of the almighty, miserable
sinners that we are?
A gentle smile spreads across his mouth.
LILLIMAN:
And speaking of sin, I wonder which
of the seven deadlies the good lord
will see fit to tempt me with
today.
Dennis finishes with the Bishop's robes and sweeps the closet
door shut.
DENNIS:
Perhaps pride, your grace.
Lilliman chuckles.
LILLIMAN:
little less ethereal. Has the
young lady arrived?
DENNIS:
The agency informed me she'll be
here directly. However, there was
a mixup. It's not one of the usual
girls. She's a little older.
LILLIMAN:
Oh dear. Oh dear. Not too old, I
trust?
DENNIS:
They promise me she's no more than
fifteen.
LILLIMAN:
Fifteen, hmm.
The Bishop rubs his cheek, ponderously.
LILLIMAN:
Ah well, if Job could bear his
disappointments, I suppose I must
have the good grace to bear mine.
Show her in when she arrives.
DENNIS:
Yes, your grace.
EXT. WESTMINSTER ABBEY - NIGHT
A pair of headlights melt through the heavy night's fog as a
taxicab pulls into the circle drive.
INT. BISHOP'S QUARTERS
Dennis peers into the Bishop's living quarters.
DENNIS:
The young lady, your grace.
LILLIMAN:
Oh my!
Standing next to Dennis is Evey, wearing a frilly pink summer
dress, pigtails and bows and white ruffled socks.
LILLIMAN:
loveliness for even an instant.
Mea culpa, my child, mea culpa.
You are a vision. An angel.
Evey smiles awkwardly.
EVEY:
Uh... thank you.
EXT. WESTMINSTER ABBEY - NIGHT
A shadow begins moving across the manicured grounds borne on
the thick mist like a dark phantom. V glides toward the
rectory, cloak undulating against the dark, wet wind.
INT. BISHOP'S BEDROOM
It is extravagantly furnished, somewhere between posh and
pimp. The Bishop is sitting very close to Evey on his plush
water bed.
LILLIMAN:
Of course, "hate the sin, love the
sinner." I always say. Take your
dress off, please.
Evey stammers, backing up along the bedside.
EVEY:
Listen -- I was kind of hoping --
He paws at her, groping hands pushing the front of her dress
down as she backs up against the nightstand.
EVEY:
No --
The guards look out into the night, fear suddenly gripping
their faces.
V emerges demonically through the parting veils of fog, the
white smiling mask bobbing eerily up and down as he rushes
them.
A cigarette drops from the first guard's mouth, red embers
exploding when it hits the wet cement.
Close as the two guards claw for their arms and the white hot
flash of V's knives --
That slice like talons.
The two men crumple to the ground, clutching their gaping,
gurgling wounds. A whisper. V sprints into the courtyard.
INT. BISHOP'S BEDROOM
Evey grabs a metal table lamp and swings it down on the
Bishop's head. There is a shuddering clank and he collapses
to the floor.
LILLIMAN:
You -- You filthy whore!
His blood speckles the white bearskin throw rug as the Bishop
slowly rises after the retreating Evey.
LILLIMAN:
I'll kill you, you f***ing sow.
He charges after her but freezes dead in his tracks as V
swings around the corner in front of him.
LILLIMAN:
What's this? Who --
V:
Please allow me to introduce
myself...
V bows.
V:
I'm a man of wealth and taste.
LILLIMAN:
Dennis?
Instantly, the point of one of V's knives is against the
Bishop's throat. V presses a finger to his frozen smile.
V:
Shh. It isn't polite to disturb
the dead on their journey.
Evey watches from around the corner.
V:
A courtesy I'll most respectfully
extend to his grace.
EVEY:
V?
Lilliman swallows audibly.
EVEY:
V, what are you doing?
V:
Vi veri veniversum vivus vici,
Evey.
Evey looks down at the knives on his belt, dripping blood.
EVEY:
Oh no.
She begins backing to the door.
EVEY:
You can't kill him!
V:
Death has followed his grace the
whole of his career. Is it any
coincidence it has finally followed
him here?
EVEY:
Oh god, V. I can't -- I can't --
V turns back to Lilliman as Evey runs.
V:
Let us pray.
EXT. WESTMINSTER ABBEY - NIGHT
Evey sprints past the dead guards at the man gate and into
the fog.
INT. THE EAR
A cramped control room that looks like something between a
radio and television switching room, though it does not
broadcast. It receives.
Two operators sit at the main substation as the sounds of
lovemaking come over the speakers. The moans are stifled and
low, however, as if they were afraid someone was listening.
OPERATOR 1
Bloody hell. Doesn't anybody f***
with feeling anymore?
Operator 2 does not look at him, scrolling through an
intricate city map on his computer.
OPERATOR 2
Hey, it's Sunday. Children's hour
over at the Abbey.
OPERATOR 1
Let's see what that filthy old
pervert is up to.
Operator 1 punches in some coordinates and the sound over the
speakers changes to a garbled fart of noise. Two voices
drown beneath a cacophony of classical music.
OPERATOR 1
What the --
He tries to dial out the background and suddenly the voices
VOICE 1
... And I saw a black shape against
the flames. Oh god. It's you.
The man from room five. You've
come --
VOICE 2
To collect what's mine.
VOICE 1
I beg you! I don't want to die!
Please have mercy!
The two men look at each other, Operator 1 lunging for a red
phone.
OPERATOR 1
Get me the Finger. This is an
emergency!
EXT. BISHOP'S QUARTERS - NIGHT
Close on a stain of white vomit and blood on the thick pile
of a Persian rug. It is encircled in police chalk.
Pull back to reveal the chalk outline where the body of
Bishop Lilliman was found. The circled bloodstain floats
above the head like the last word balloon of a crude comic
strip character.
The Bishop's quarters is slowly being picked over by a
forensic team from the Nose. A photographer's flash bursts
against a painted "V" on the wall near the body outline.
At the window, Finch chews on his pipe, staring at a plastic
evidence bag that contains a single violet carson rose.
DOMINIC:
No prints yet, sir. Just like
Prothero.
FINCH:
I want those tapes from the Ear in
my office tonight, Dominic.
DOMINIC:
Yes, sir. They're on top of it.
Finch turns to a muscular man named Creedy, second in command
at the Finger.
FINCH:
Any word from your superior, Mr.
Creedy?
CREEDY:
Mr. Almond doesn't seem to be
answering his page, sir. I'm sure
he's in the field.
FINCH:
Quite.
INT. CONRAD HEYER'S BEDROOM
Grunting like an animal, Derek's face is frozen, locked in
the rigor of a violent orgasm. After a moment, he collapses
beside Helen onto the sweat soaked sheets.
HELEN:
There you go, baby. Now my baby
boy can think so much clearer.
Can't he?
She grabs her cigarette case and her lighter.
HELEN:
You have been thinking, haven't
you?
She straddles his chest then lights two cigarettes.
HELEN:
I know you have. Ever since this
terrorist appeared.
He smiles as she puts one of the cigarettes in his mouth.
HELEN:
Oh jesus, that smile. That smile
turns me on like nothing else.
She whispers in his ear.
HELEN:
Tell me. Tell me what's going on
in that ruthless sadistic brain of
yours.
DEREK:
Everyone is so worried about the
terrorist. Especially Susan. You
know why? Because nobody knows
what he's going to do.
He exhales through his grinding teeth.
DEREK:
If I were him, I know what I'd do.
He whispers.
DEREK:
I'd blow that fat bastard to
kingdom come.
Helen bolts up.
HELEN:
No. You're kidding.
DEREK:
Am I?
He smiles, blowing more smoke.
DEREK:
There's an old train line under the
New Government Building. It
collapsed when they poured the
foundation. You could haul in
enough TNT to launch our Leader's
ass all the way to the moon.
Helen's eyes gleam as he laughs.
HELEN:
You're serious, aren't you?
He eyes her sucking on the cigarette.
DEREK:
You need to be careful, Helen.
Your mouth is going to get you into
trouble one day.
HELEN:
Is that the same trouble you love
putting in my mouth?
DEREK:
listening.
HELEN:
I know, Derek. You love your
country and you love your party,
just like you love your wife.
He glares at her.
HELEN:
Derek. I'm sorry. I know I can be
a b*tch. But that's why you're
here, isn't it?
He smiles again and she presses her body to his.
HELEN:
This is it, isn't it, Derek? What
we've been waiting for. At last,
you'll be rid of Susan. I'll be
rid of Conrad. And we'll be free.
Free, won't we?
His eyes close as he grinds his hips into hers and we rise,
drifting up to the ceiling light fixture --
Where we see a tiny hidden microphone.
INT. FINCH'S OFFICE - THE NOSE
Finch sits at his desk, staring into the silence of his
notepad. He has doodled a little "V" with a circle around
it.
He looks up as Dominic enters, holding up a portable cassette
player.
DOMINIC:
Sorry it took so long. The boys
had a devil of a time trying to
filter out the background noise.
FINCH:
Background noise?
DOMINIC:
The perpetrator apparently turned
on the Bishop's stereo.
Subsequently, a great deal of the
tape is useless.
FINCH:
What music did he play?
DOMINIC:
Beethoven. The fifth, I believe.
Finch smiles.
FINCH:
Da, da, da, dum. That's code.
Morse code.
DOMINIC:
Sir?
FINCH:
For the letter "V".
Finch punches "play".
Over the small speaker, we sear Evey protesting to V, then
run. He stops it.
FINCH:
Anything on the girl yet?
DOMINIC:
No. The agency said somebody
claiming to be Lilliman's valet
canceled his Sunday appointment.
Finch starts it again and this time the tape is very fuzzy.
FINCH:
What is it?
DOMINIC:
23rd Psalm.
We recognize some of the words though muted and crackly.
TAPE (V.O.)
Though I walk through the valley of
the shadow of death...
DOMINIC:
It goes on like that for a while.
Fairly incoherent except we could
make out a few words in this part.
Transubstantiation.
Finch nods, understanding.
DOMINIC:
That miracle business when the
wafer transform into the body of
Christ.
FINCH:
He made him eat a host.
DOMINIC:
Yes, listen to this part.
The tape becomes somewhat clearer as the music rests.
TAPE (V.O.)
... And at the moment this enters
your mouth it becomes the flesh of
the savior? Yes... please... And
whatever it is made of now it will
become the body of Christ? Yes...
yes...
They eye each other.
TAPE (V.O.)
I want you to swallow it.
DOMINIC:
There's a couple of funny human
noises...
FINCH:
And then just Beethoven's fifth.
He shuts off the tape.
FINCH:
We have got the initial path report
back. The host was full of
cyanide.
Finch picks up the bag with the violet carson.
FINCH:
And do you know what?
He rises, sliding into his jacket.
FINCH:
When it reached his abdomen, it was
still cyanide.
INT. MORGUE
Close on the heavy stitching of a "Y" incision sewn into the
chest of a corpse. It is one of the Bishop's guards.
DELIA:
Do you have a motive?
Finch is standing next to the cadaver gurney with the
coroner, Delia Surridge. She is a serious woman, hair wound
tight behind her head in a severe bun.
DELIA:
I mean, was anything taken?
She fills the dead man's head with cotton and replaces the
top of his skull.
FINCH:
Just lives.
Pulling at the man's scalp, she stretches it over the
replaced skull piece.
FINCH:
I know it's too early for your
profile but do you have any initial
impressions?
DELIA:
Well...
She points at a jagged puncture wound at the base of the
man's sternum with a ball point pen.
DELIA:
He's incredibly powerful. This
man's sternum was split like dry
wood from the base all the way up
to the manubrium.
Finch peers into the hole.
DELIA:
And he's resourceful. On that
table behind you is a breakdown of
Prothero's blood stream.
Finch hefts the pile of computer paper.
FINCH:
Bloody hell.
DELIA:
There were hundreds of different
chemicals in him. From
trinitrotoluene to estrogen to
motor oil.
He flips through the document, biting into the wooden end of
his pipe.
FINCH:
Perhaps Fate will make something
more of all this. I certainly
can't.
DELIA:
The Leader finally authorized an
uplink for you? He must be getting
nervous.
FINCH:
Quite. Government directed
terrorism never sews healthy ideas
into the public. Oh, that reminds
me.
Finch pulls the evidence bag from his pocket.
FINCH:
Can you tell us anything about
this?
Delia's eyes lock onto the violet carson.
FINCH:
We found one in the carriage with
Prothero and this one in the
Bishop's quarters. A violet
carson.
He hands it to her.
FINCH:
I heard that strain had died off.
Thought a botanist might shed some
light on it. Delia?
Delia, riveted to the rose, suddenly looks up to him.
DELIA:
Yes -- Yes, of course.
FINCH:
Magic. I'll drop by tomorrow then.
He turns, leaving her with the rose.
INT. SHADOW GALLERY
V relaxes with a book in an overstuffed reading chair, a
violet carson rose resting on a table next to him. He begins
to read a passage aloud.
V:
"There is more behind and inside of
V than any of us had suspected.
Not who, but what: what is she?"
He places the book down. Thomas Pynchon's "V".
V rises, lifting the rose and moving into the darkness of the
Shadow Gallery.
EXT. EMPTY STREET
A small figure moves down the dark wet street, the
cobblestones glistening like black scales.
The huddled figure arcs across the street in the shadows,
avoiding the pools of streetlight. It is Evey, a frightened
look on her face.
A woman in combat boots, fishnets, and a tight fitting
soldier's uniform is in the middle of a cheeky number on
stage in this smoky burlesque bar. It is a popular place
with locals and Fingermen.
Peter Creedy squeezes through the crowd, angling for the back
of the bar where a number of loud Fingermen are drinking.
CREEDY:
What's all this, then, Harper? I
get a radio that a man's down and
in need of assistance?
HARPER:
I ain't gone down yet but I sure do
need some assistance.
Creedy leans in.
CREEDY:
Are you flat broke already?
They break up in laughter, led by Creedy who sits next to
Harper, pouring himself a drink.
LOUT:
How'd you sneak away, Creedy?
Almond off buggering that blonde
chippy?
HARPER:
The one with the tits?
They all begin to hoot and whistle.
CREEDY:
What I wouldn't give for a piece of
that.
LOUT:
She could serve a tray of drinks on
those thingies.
HARPER:
I bet you get your chance with her
sooner than later, Creedy, with the
way Almond's crackin' up.
LOUT:
Bloody bugger's losing his marbles.
HARPER:
Terrorist or no, if that bastard
gives me another double shift, I'll
stomp his f***ing head.
Creedy raises his drink.
CREEDY:
Aye. This nonsense has put a
serious strain on my drinking. I
think I was actually sober today.
LOUT:
I'll drink to that.
HARPER:
We need to get a real man of the
people in that director's position.
Like Creedy here.
Everyone cheers in agreement.
CREEDY:
Well, it's good to know when the
sh*t hits the fan who your real
friends are.
They salute and drink.
INT. ALMOND HOME
Derek Almond sits hunched under a desk lamp, pumping the
cylinders of his revolver with a wire brush.
Rosemary shuffles up to him, her frumpy gown gathered around
her.
ROSEMARY:
Derek --
He blows down one of the cylinders, not looking up.
DEREK:
I don't want to hear it, Rosemary.
ROSEMARY:
Derek, please! We can't carry on
like this.
Derek stares at the gun, rage building.
ROSEMARY:
You don't talk to me. You don't
eat with me. You don't have sex --
Rosemary clatters to the ground in tears. Derek glowering
over her.
DEREK:
I don't have to take any crap from
you! I have that fat bastard
riding me all day. I don't want to
listen to you, so shut your fat
gob!
He leans into her face.
DEREK:
And me not wanting to f*** you is
obvious. Take a look at yourself.
He sits back in front of the gun, wiping it down.
DEREK:
Get out of my sight. I'm cleaning
my gun.
INT. DELIA SURRIDGE'S HOME
Dr. Surridge sits somberly in the dark, street light
filtering in from the open curtains.
Her eyes fixed on the violet carson as she slowly turns it
over in her hands, fingers tracing the soft petals.
After a moment, she stands, letting it fall from her lap.
INT. FINCH'S OFFICE - THE NOSE
Finch turns as Dominic bursts in.
DOMINIC:
I got it!
FINCH:
A connection?
Dominic waves a printout.
DOMINIC:
Larkhill Resettlement Camp.
Prothero's and Lilliman's
employment records show they both
help positions there at similar
times.
FINCH:
DOMINIC:
Most of Larkhill's records were
destroyed for security reasons but
I did uncover an old standard
procedures and operations manual.
Dominic smiles.
DOMINIC:
In special case studies, medical
research groups used roman numerals
to identify test inmates.
FINCH:
Five is the letter V. Brilliant,
Dominic.
Finch slides in front of his computer.
FINCH:
All we need is Larkhill's
employment records.
INT. DELIA SURRIDGE'S BEDROOM
The covers pulled protectively up around her, Delia rests in
a light, uneasy sleep.
Suddenly, an eye pops open as she awakens, catching a
familiar scent. She slowly sits up and inhales.
DELIA:
Roses.
She closes her eyes.
DELIA:
It's you, isn't it? You've come to
kill me.
From the shadows, V answers.
V:
Yes.
Tears begin to streak her face.
DELIA:
INT. FINCH'S OFFICE - THE NOSE
Dominic hangs over Finch's shoulder as Larkhill's employment
record comes up.
FINCH:
Oh my god.
Row after row of names scroll by at the end of each bio are
the words:
deceased, file closed.FINCH:
Oh bloody hell.
The data banks unfurl like a mass grave.
DOMINIC:
He's killed them all? It's not
possible.
Finch stops, staring at the one name whose file is not
closed --
FINCH:
Oh no.
Dr. Delia Surridge.
INT. DELIA SURRIDGE'S BEDROOM
V floats on the edge of the room's shadows, a dark angel.
V:
Are you afraid?
DELIA:
No, no. I thought I would be, but
I'm not. I'm --
She looks at the hovering, smiling mask.
DELIA:
Relieved.
She starts to cry again.
DELIA:
Oh god, all these years. All this
waiting. And somehow I always knew
you'd come back.
Delia thinks back.
DELIA:
When I saw you that night -- the
night you escaped, you were
standing against the flames and you
looked straight at me.
The mask almost nods.
DELIA:
I knew then that one day you'd come
looking for me, that you'd find me.
Her voice drops to an almost confessional whisper.
DELIA:
What -- what happened at Larkhill.
What we did -- What I did. That
terrible knowledge, it's been with
me so long. That I could do things
like that.
Delia rubs the salty tears from her eyes.
DELIA:
For years, I blamed it on the
government, on the authority I
living so long with the knowledge
of what I did has made me
understand otherwise. I alone was
accountable.
V watches her.
DELIA:
There is something wrong with us.
With all of mankind. With me.
Something evil that made me enjoy
what I did. Some hideous flaw.
DELIA:
We deserve to be culled. We
deserve it.
INT. ALMOND BEDROOM
Light sweeps across Rosemary from the opening bedroom door as
she sobs softly in bed. Derek enters, holding a bottle of
whiskey and his clean gun.
She sits up as Derek looms over her.
ROSEMARY:
Derek? What?
He lifts the gun into her bruised face. Her eyebrows cringe
as he slowly pulls the trigger.
DEREK:
Bang.
Click. It is empty.
DEREK:
Don't worry, Rose. I didn't load
it.
The phone rings.
DEREK:
Not tonight.
He grins evilly at her and answers the bedside phone.
DEREK:
Almond. What?! Where?
DEREK:
Oh god, yes! God, thank you!
He slams the phone down, charging out of the room.
A gaggle of drunks exit the bar, laughing and singing as they
pass a small figure.
Evey wanders into the bar amidst the lustful screams and cat
calls for the line of high stepping, semi-clothed girls on
stage.
She stares out into the crowd, not sure why she is here when
a man approaches her: Creedy. His sloppy smile indicates he
has had a few drinks.
CREEDY:
You look lost.
CREEDY:
Can I buy you a drink?
EVEY:
No... I made a mistake.
She turns for the door.
EVEY:
I have to find someone.
Creedy frowns as his radio crackles.
CREEDY:
Well I didn't like the looks of you
anyway --
RADIO (V.O.)
All units, all units. Code red.
Converge in Plaistow to apprehend
codename V.
CREEDY:
Bloody hell!
He screams to the Fingermen at the back.
CREEDY:
It's him! We got him!
Evey watches as they storm out of the bar, then follows.
EXT. CITY STREET
The emergency lights blaring, Finch's car squeals around a
corner.
INT. DELIA SURRIDGE'S BEDROOM
V hovers ghostly at Delia's bedside.
DELIA:
It's funny, I was given one of your
roses today. I wasn't sure you
were the terrorist until I saw it.
She manages a smile.
DELIA:
What a strange coincidence. That I
should be given it today.
V:
There are no coincidences, Delia.
Only the illusion of coincidence.
He reaches into his cloak.
V:
I have another rose. This one is
for you.
He hands it to her.
DELIA:
Then you are going to kill me now?
V:
While you slept.
DELIA:
Is there any pain?
V sits on the bed.
V:
No. No pain.
DELIA:
Thank you.
She stares at the mask.
DELIA:
Can I -- Can I see your face again?
V slowly pulls off his hat and lifts his mask. Delia stares
into his face.
DELIA:
It's beautiful...
The rose falls from her hands.
INT. HALL
V quietly shuts the door as if not to wake her and turns just
as --
Derek Almond reaches the top of the stairs.
DEREK:
Don't move an inch, you bloody
bastard.
He trains his gun.
DEREK:
You didn't hear me arrive, did you?
Didn't know we'd rumbled you?
He squints.
DEREK:
It's all finished, chummy. All of
it. The old man told me it was my
head or yours and what do you know.
It's yours.
The smiling mask stares.
DEREK:
Because you're standing over there
with your bloody stupid knives and
Derek pulls back the hammer.
DEREK:
And I've got a gun.
He smiles.
DEREK:
Bang.
There is an awkward moment of silence, then V moves --
Cloak opening, filling the hall like a black tidal wave that
envelopes Derek. He chokes a scream as V embraces him,
slipping a knife above his floating rib.
Derek Almond sputters as he claws at V's mask.
DEREK:
Who -- Who are you?
V:
Yes, look. Look and tell me what
you see.
He rips V's mask off as V thrusts the knife in deeper.
Derek's eyes widen in horror as his life pours out the knife
wound.
DEREK:
Horrible! God, it's horrible!
V jerks his blade free, letting Derek slip to the ground.
EXT. DELIA SURRIDGE'S HOME
Finch's car bucks up onto the sidewalk.
Finch and Dominic tear out of the car and barrel into the
house.
INT. DELIA SURRIDGE'S HOME
At the top of the stairs, they find the dead Derek. Finch
rushes past him for the bedroom.
FINCH:
Delia?
Inside, he finds her. Her eyes fixed, cold, and dead, a
single violet carson in her lap.
FINCH:
Get an ambulance.
EXT. DELIA SURRIDGE'S HOME
Evey rushes around a corner to see a crime scene bathed in
siren light. She pushes up to the police barricade as the
M.E.'s load a draped body into their van.
EVEY:
Oh no... V?
She tries to angle around to get a better look when a man in
a brown overcoat grabs her from behind and drags her into the
alley.
INT. DELIA SURRIDGE'S BEDROOM
From the corner of the room, Finch sits, watching as the
M.E.'s wheel out Delia's body.
Dominic squeezes past the gurney and crosses toward Finch.
DOMINIC:
I'm sorry, sir. You knew the
doctor pretty well?
Finch nods.
DOMINIC:
We found this on her bureau, sir.
It's Dr. Surridge's journal. It
covers her years at Larkhill. It
might contain the whole story.
Dominic searches for something more to say when Finch does
not answer.
After a moment, Finch looks at the book in Dominic's hand,
then takes it, leafing through the pages. They flip by, a
breathy sigh, rising to a cold wind.
DELIA (V.O.)
May 23rd...
INT. LARKHILL MEDICAL RESEARCH BLOCK - DAY - FLASHBACK
A younger Dr. Surridge, one by one, administers a series of
injections to her research stock.
DELIA (V.O.)
Prothero has hand picked my
subjects. Four dozen of them, none
of which will be any use to me if I
don't get to work soon.
She finishes an injection, Prothero encouraging the next
subject. We recognize her as the woman Prothero pointed at.
DELIA (V.O.)
They're so weak and pathetic I find
myself hating them.
Delia prepares the next dose, a sour look on her face.
DELIA (V.O.)
They don't fight or struggle. Just
stare at you with weak eyes.
PROTHERO:
Next.
INT. LARKHILL OVENS - DAY - FLASHBACK
Two inmate orderlies are hefting sacked cadavers from a cart
into an incinerator.
DELIA (V.O.)
June 9th:
Of the original fourdozen, over 75% are now deceased.
Strangely, no clear patterns have
emerged as of yet.
Another body thuds onto the pile.
DELIA (V.O.)
Batch 5 seems to have no common
discernible effect on any specific
group though the men seem slightly
more resilient than the women.
When it is full, they move to the next door until the cart is
empty.
DELIA (V.O.)
provide more answers or my time
here will have gone to waste.
Red heat suddenly glows from the oven vents as the orderly
throws a series of switches.
INT. LARKHILL MEDICAL RESEARCH BLOCK - DAY - FLASHBACK
Dr. Surridge moves down the drab aseptic hallway accompanied
by an armed guard. Roman numerals on the doors to each cell
ascend to five.
DELIA (V.O.)
June 18:
And only five left now.Two men and three women. Which
tends to contradict my entry on the
9th.
She pauses at room five.
DELIA (V.O.)
The man in room five is a
fascinating case.
She looks through the small chicken wire glass window in the
door.
DELIA (V.O.)
Physically, there doesn't seem to
be anything wrong with him. No
cellular anomalies, nothing.
In the back, just on the edge of the room's shadow, sits the
man in room five, silently staring back.
DELIA (V.O.)
Batch five, however, seems to have
brought on some kind of psychotic
breakdown. He's quite insane.
Dr. Surridge can't seem to break her stare.
DELIA (V.O.)
He has this way of looking through
you. Reverend Lilliman won't go
near him. He claims that it is the
devil in room five. I see him
cross himself whenever he passes
his door. Still, there's something
about him...
EXT. LARKHILL GARDEN - DAY - FLASHBACK
Dr. Surridge slowly moves through the Larkhill garden, an
incredible abundance of fruits, vegetables and violet carson
roses.
DELIA (V.O.)
I'm glad Prothero let room five
have a go at the gardening project.
He is quite proficient. Prothero
was reluctant to allow an inmate
access to the tool and chemical
supply at first but now the fat
toad is delighted. The crop has
almost doubled.
She traces the petals of a rose with her finger.
DELIA (V.O.)
He also grows roses. Beautiful
roses.
INT. LARKHILL LOUNGE - NIGHT - FLASHBACK
Dr. Surridge and several other Larkhill appointees relax
after dinner.
DELIA (V.O.)
December 24th:
I was in the mess.It was about half past ten when we
heard the first explosion.
A massive explosion shakes the building to its very core, its
windows shattering and hooded pendulum lights swinging.
EXT. LARKHILL LOUNGE - NIGHT - FLASHBACK
Men and women clutch at their throats as they tumble out into
the yard.
DELIA (V.O.)
The ones at the front ran straight
into the gas. It was horrible.
They drop to the ground, gasping and vomiting.
The back door is kicked open, Dr. Surridge following two
guards.
DELIA (V.O.)
A few of us made it out through the
rear door. You could hear men
screaming everywhere. I hate the
sound of men screaming.
She looks out, men running, collapsing, dying in a yellow
green haze that seems everywhere.
DELIA (V.O.)
In the center of the camp,
everything was on fire. Everyone
running in all directions. We had
hardly enough time to get our
bearings when the ovens exploded.
Another explosion wracks the compound. The pillar of flame
rises into the black sky, dwarfing the men in the camp.
Dr. Surridge sees a gaping hole in the medical block, its
insides turned out like an unholy birth.
DELIA (V.O.)
It was the man in room rive. I
couldn't have known. The chemical
supplies, grease solvents, ammonia,
fertilizer. He'd been making
things with them.
Close on a soldier, doubled over, hacking up bile.
DELIA (V.O.)
Mustard gas...
A sticky blue fire licks up from a blackened body like a dura
flame.
DELIA:
And napalm.
Dr. Surridge turns as a silhouette crosses the yard, backlit
by a curtain of fire.
DELIA (V.O.)
And in the yard, I saw him. He had
naked.
The man stops.
DELIA (V.O.)
He looked at me...
Dr. Surridge seems to wilt under his stare but cannot look
away.
DELIA (V.O.)
As if I were an insect. Oh god.
As if I were something mounted on a
slide.
The flames convulse hypnotically behind him.
DELIA (V.O.)
He looked at me.
INT. LEADER'S OFFICE
Finch snaps Dr. Surridge's journal shut.
He sits in front of the Leader's desk puffing on his pipe
FINCH:
That's the last entry until six
months later when Dr. Surridge is
back in London. There is no
mention of the man in room five
again. End of story.
He tosses the journal on Susan's desk.
FINCH:
Except that it wasn't the end of
the story.
Finch rises, crossing to the wastebasket.
FINCH:
Between 2009 and 2012, over forty
men and women who were previously
stationed at Larkhill met with what
were believed to be accidental
deaths. Eventually, only three
remained.
He taps his pipe into his hand, pouring the contents into the
wastebasket.
FINCH:
The three he'd been saving until
last.
Finch brushes the ashes from his hands and begins repacking
his pipe.
FINCH:
Everyone who worked at Larkhill.
Everyone who could have identified
him. You see there are two
possible motives here. Not one.
Susan raises his head.
FINCH:
The first is revenge. He escapes
from Larkhill and vows to get even
with his tormentors. The whole
exercise an elaborate, chilling
vendetta.
When he finishes repacking the pipe, he replaces it in his
mouth.
FINCH:
That's the explanation that I find
most reassuring, funnily enough.
Because that means he's finished.
It's over now.
Finch begins relighting his pipe.
FINCH:
The second motive is more sinister.
Like I said, everyone who could
have identified him is dead.
FINCH:
What if he's just been clearing the
ground?
Another burst.
FINCH:
What if he's planning something
else?
The lighter slips back into his pocket.
FINCH:
You see, the diary we found was in
full view. We didn't have to
search for it. He left it there.
He wanted us to find it. He wanted
us to know the story. Or...
Finch returns to his chair, letting out a huge cloud.
FINCH:
For all we know, the diary could be
Codename V could have written it
himself.
Finch leans forward.
FINCH:
He's playing games with us. He
might never have been at Larkhill
at all. Do you see? It could all
be another smoke screen, a false
LEADER:
Enough!
Susan punches the desk.
LEADER:
Mr. Finch, would you please explain
to me the nature of this meeting?!
Because I was under the impression
that you had some information about
the terrorist, codename V!
And punches it again until his fist hurts.
LEADER:
No more questions, understand! I
want answers! I am not interested
in where he grew up, what kind of
flowers he likes or his favorite
color!
Susan's collar chokes his face to an unnatural crimson.
LEADER:
Do I make myself clear?
FINCH:
Yes, Leader.
After a moment, Finch stands, Susan hanging on his last word.
LEADER:
Dismissed. England prevails, Mr.
Finch.
Finch turns, Susan calling after him as he leaves.
LEADER:
Mr. Finch, the girl. Do you have
anything on the girl?
Finch pauses at the door.
FINCH:
No, Leader. Not yet.
INT. CELL
Evey stirs as voices drift in from the hall outside her door.
MAN:
Wake up, cow.
Three guards are silhouetted in the doorway of a cramped jail
cell. Still sluggish from the chloroform, Evey looks down at
the coarse slipover she's now wearing.
One of the men, Rossiter, crosses toward Evey, swinging a
pair of shackles. He grabs Evey, slamming her face down into
the hard cot, driving a knee between her shoulder blades.
Evey screams.
GUARD 1
Tsk. This pathetic whore is the
famous Miss Hammond?
The shackles bite down on her wrists as they laugh in the
hall.
EVEY:
You've made a mistake.
Rossiter stands her up, shoving her into the wall.
ROSSITER:
Shut up.
EVEY:
Please. I haven't done anything --
He slides a thick hood over her head.
ROSSITER:
I said shut your hole!
INT. INTERROGATION ROOM
The hood is lifted from her head. Evey squints hard, awash
in a blinding, burning light.
A man sits, unmoving, at a desk across from her, a guard at
his side, both backlit by a harsh white kliegs.
Evey's eyes start to water as she blinks.
INTERROGATOR:
Do you know why you're here. Evey
Hammond?
EVEY:
No, please, I didn't do anything.
INTERROGATOR:
Allow me to be more precise. Did
you participate in the murder of
Dr. Delia Surridge?
EVEY:
No.
INTERROGATOR:
Did you participate in the murder
of Derek Almond, director of the
Finger?
EVEY:
No, I --
INTERROGATOR:
Did you participate in the murder
EVEY:
Oh god, I don't --
INTERROGATOR:
Have you ever participated in a
terrorist act against your country?
EVEY:
No --
INTERROGATOR:
What is the identity of codename V?
EVEY:
I don't know.
INTERROGATOR:
You are a lying c*nt.
A monitor next to the desk lights up. From the snowy static,
A girl is talking to a man. She is shoving her hips at him,
propositioning him. When more men appear from the alley,
Evey realizes she is watching herself.
EVEY:
They were going to rape me, kill
me --
Rossiter grabs a handful of her hair.
ROSSITER:
Shut up.
She swallows hard when she sees V emerge on the screen. The
image freezes on his smiling face.
INTERROGATOR:
This board will not tolerate any
more of your lies, Miss Hammond.
We have over 120 minutes of audio
testimonials from eye witness that
identify you as an accomplice to
the terrorist, codename V.
INTERROGATOR:
Do you want to know why you're
here? You are formally being
brought up on charges of murder on
fourteen counts and sedition
against your Leader and country
which brings an automatic sentence
of death.
EVEY:
Please. I didn't do anything.
INTERROGATOR:
Process the prisoner and return her
to her cell until she is more
cooperative.
Rossiter slips the hood back over Evey's head.
INT. PROCESSING ROOM
Evey cries as a rough hand runs a pair of electric clippers
over her head. Huge sheaves of her hair fall to the ground.
DISSOLVE TO:
INT. CELL
Evey lies crumpled on the hard floor, unmoving, as a tray of
food is slid through a slot at the bottom of the door.
She watches as a rat crosses from a hole in the wall,
sniffing the murky rendered gelatin in the wooden bowl.
DISSOLVE TO:
INT. PROCESSING ROOM
Evey hangs limply from a set of manacles as she is washed and
deloused by heavy hands.
She coughs in the yellow bug powder cloud as it burns her
eyes and the red welts on her back.
DISSOLVE TO:
INT. CELL
Evey is curled up on the cot like a dry fetus, now gaunt arms
wrapped around her legs. She blinks when she hears something
moving in the rat hole.
Evey raises her head as something is pushed through the
crevice.
Tentative fingers search the hole, pulling out a length of
toilet paper. Over every inch of it is a delicately scrawled
message.
We move into the rathole, its edges slowly filling the frame
until black.
EXT. INTERROGATION ROOM
Pull back from a shadow, the outline of the interrogator's
silhouette against sharp light coming into frame.
EVEY (V.O.)
I read her letter. Hid it. Slept.
Woke. They questioned me. And I
read her letter again.
Rossiter is buckling Evey's thin arms and legs into a chair.
Her now frail frame can barely hold up the frayed brown
slipover.
EVEY (V.O.)
Over and over...
On the table in front of her, there is a large wash basin of
water. Rossiter dunks her head into it.
EVEY (V.O.)
Her name was Valerie.
INT. CLASSROOM - DAY - FLASHBACK
A teacher reads from her lesson plan in front of rows and
rows of uniformed pubescences in this all girl private
school. Her voice drones on and on like Muzak.
VALERIE (V.O.)
I was born in a rainy burg in
Nottingham in 1975. I passed my
eleven plus and went to girl's
grammar.
A blonde tomboy sneaks a smile to her curly haired friend
next to her.
VALERIE (V.O.)
I met my first girlfriend at
school. Her name was Sara. Her
wrists. Her wrists were beautiful.
Her hand slides across the desk, fingers tickling the young
flesh of Sara's wrist.
The teacher's voice slows, dropping octaves, becoming --
INT. BIOLOGY LAB - DAY - FLASHBACK
A man's voice.
VALERIE (V.O.)
I sat in biology class staring at
the pickled rabbit fetus while Mr.
Herd said it was an adolescent
phase that people outgrew.
Valerie looks at Sara across the room, her head down in
shame.
VALERIE (V.O.)
Sara did. I didn't.
INT. LIVING ROOM - DAY - FLASHBACK
Two teenage girls stand in front of a middle aged couple.
They are holding hands.
VALERIE (V.O.)
In 1994, I stopped pretending and
took a girl called Christine home
to meet my parents.
The greying woman repeats the sign of the cross over and
over, sobbing into a handkerchief. Her husband's face is
contorted in disgust.
VALERIE (V.O.)
A week later I moved to London to
go to college and study drama. My
mother said I broke her heart.
Two young women cuddle on a park bench under a London summer
sky, feeding the pigeons.
VALERIE (V.O.)
But it was my integrity that was
important. Is that so selfish? It
sells for so little but it's all we
have left in this place...
The black haired girl nibbles on the blonde's ear.
VALERIE (V.O.)
It is the very last inch of us...
INT. INTERROGATION ROOM
Evey struggles against Rossiter's weight who keeps her head
submerged.
VALERIE (V.O.)
But within that inch we are free.
INTERROGATOR:
Enough.
Rossiter wrenches back and Evey sucks hard for air, coughing
out water.
INTERROGATOR:
Now Miss Hammond, let us review the
facts.
Evey stares at him, eyes red, heart pounding in her ears.
INTERROGATOR:
You work for codename V. Codename
V killed Delia Surridge and then
Derek Almond with your help and
that is why you were found outside
her home.
Evey begins to shake her head, water sluicing off her thin
face.
INTERROGATOR:
Isn't that what happened, Miss
Hammond?
EVEY:
No. No, that isn't true --
INTERROGATOR:
Oh dear, Rossiter?
Rossiter grabs Evey's neck --
EVEY:
No, wait!
Plunging her head into the bowl. Water fills Evey's nose and
ears.
VALERIE (V.O.)
London. I was happy in London.
INT. THEATRE - NIGHT - FLASHBACK
The packed house watches as a Prince kneels before a woman's
bare foot with a slipper of glass.
VALERIE (V.O.)
I played Dandini in Cinderella.
The woman glances into the dark sea of faces.
VALERIE (V.O.)
The world was strange and rustling
with invisible crowds behind the
hot lights and all that breathless
glamour.
Two women weep in each other's arms, embracing in a perfect
knee high meadow.
VALERIE (V.O.)
Work improved. I got small film
roles, then bigger ones.
The blonde woman brushes away a tear from the other's cheek.
VALERIE (V.O.)
In 2006, I starred in "The Salt
Flats." That's where I met Ruth.
We fell in love.
We pull back and see we are on location for a movie and the
INT. CONDO - NIGHT - FLASHBACK
Ruth and Valerie sit on the couch watching television. On
the table behind them is a bouquet of violet carson roses.
VALERIE (V.O.)
Every Valentine's Day she sent me
roses and, oh god, we had so much.
Those were the best three years of
my life.
The two women stare at the newscast in tears, the sound of
marching coming from the set's speakers.
VALERIE (V.O.)
In 2010, they came.
EXT. LONDON STREET - DAY - FLASHBACK
The sound of marching explodes as columns of men in brown
uniforms and jack boots fill the streets.
VALERIE (V.O.)
And after that there were no more
roses...
INT. INTERROGATION ROOM
Rossiter presses his elbow onto Evey's neck, holding her
submerged.
VALERIE (V.O.)
Not for anybody.
Rossiter lets Evey up. Her red burnt lungs gulp at the air.
VALERIE (V.O.)
After the takeover, they started
rounding up the gays. They took
Ruth while she was out looking for
food.
Evey blinks hard, black fireworks exploding in her eyes.
VALERIE (V.O.)
Why are they so frightened of us?
She wheezes, on the edge of unconsciousness.
VALERIE (V.O.)
They burned her face with
cigarettes and made her give them
my name. She signed a statement
saying I'd seduced her.
The interrogator's voice melts into a slag heap of sound with
the hot, rhythmic pounding in her ears.
VALERIE (V.O.)
I didn't blame her. God, I loved
her but I didn't blame her.
Rossiter uncuffs Evey, slipping the black bag over her head.
VALERIE (V.O.)
But she did.
Evey's knees buckle as he forces her to stand.
VALERIE (V.O.)
She killed herself in her cell.
She couldn't live with betraying
me, with giving up that last inch.
Oh, Ruth.
Evey weaves down the hall. Rossiter shoving her from behind.
VALERIE (V.O.)
They came for me. They shaved off
my hair. They held my head down a
toilet and told lesbian jokes.
They brought me here and pumped me
full of chemicals.
The cell door swings open.
VALERIE (V.O.)
I can't feel my tongue. I can't
speak.
Rossiter yanks the hood from her head and pushes her in.
VALERIE (V.O.)
It is strange that my life should
end in such a terrible place but
for three years I had roses and
apologized to nobody.
The iron door slams shut, lock ringing in the stale air.
VALERIE (V.O.)
I shall die here. Every inch of me
shall perish...
Evey rolls to her knees.
VALERIE (V.O.)
Except one.
She crawls for the rat hole.
VALERIE (V.O.)
An inch. It is small and fragile
and it's the only thing in the
world that's worth having.
Her shaking hand pulls the letter from the stone crevice.
VALERIE (V.O.)
We must never lose it or sell it or
give it away. We must never let
them take it from us.
Evey clutches it like a rosary as she begins to cry.
VALERIE (V.O.)
I don't know who you are but I hope
you escape this place. I hope that
the world turns and things get
better and that one day people have
roses again.
She holds the note to her face, her tears soaking into the
fragile paper.
VALERIE (V.O.)
I don't know who you are but I love
you. I love you. Valerie.
Slowly, Evey slips away, succumbing to blackness.
EVEY (V.O.)
I had come to know every inch of
those four walls in that dark hell
and they knew every inch of me.
Every inch...
INT. INTERROGATION ROOM
Loud lights blare against Evey's solemn face.
EVEY (V.O.)
Except one.
A typed document sits on a small tray table in front of her.
INTERROGATOR:
"My name is Evey Hammond. On the
5th of November 2019, I was
abducted by the terrorist known as
codename V and then taken against
my will to an unknown location."
Rossiter hovers just behind her as the Interrogator reads her
confession.
INTERROGATOR:
"Once there, I was systematically
brainwashed by means physical and
psychological. I was frequently
subjected to sexual abuse during
this period."
Evey's expression is unchanging.
INTERROGATOR:
"Eventually I was terrorized into
helping him commit the murders of
Derek Almond, Dr. Delia Surridge,
and Anthony Lilliman, Bishop of
Westminster."
Rossiter drops a pen on the table.
INTERROGATOR:
"I, the undersigned, swear that the
above statement is genuine and that
intimidation."
The pen slowly rocks to a stop.
INTERROGATOR:
We'd like you to sign that for us,
Miss Hammond. Where we've put the
little cross.
She blinks.
EVEY:
No.
INTERROGATOR:
As you wish.
Rossiter begins unbuckling Evey's restraints.
INTERROGATOR:
Escort Miss Hammond back to her
cell, Rossiter, where she will wait
while you arrange a wet detail of
six men.
He forces Evey to her feet.
INTERROGATOR:
Then take her out behind the
INT. CELL
The door opens behind Evey as she rereads Valerie's letter
for the last time.
ROSSITER:
It's time, unless you want to
change your mind.
She holds the tattered piece of toilet paper to her chest.
ROSSITER:
Sign that statement. You could be
out inside three years. Perhaps
they'd find you a job with the
Finger.
Evey closes her eyes.
EVEY:
Thank you but I'd rather die behind
the chemical sheds.
Her last words hang in the air.
ROSSITER:
Then there's nothing left to
threaten you with, is there? You
are free.
He turns and leaves.
EVEY:
What?
She listens as his footsteps fade down the hall, the door
hanging weirdly open.
Evey takes a few tentative steps toward the door and sticks
her head out into the empty hall, peering down both ways.
Slowly, she emerges from her cell, retracing her path down
the hall that her blindfold never allowed her to see.
Quietly inching along the wall, Evey peeks around a corner,
gasping at the rigid guard standing off to the side. There
is something about the man's frozen stare that keeps her from
running.
Evey straightens and crosses to the guard.
It is a mannequin.
She touches him, the wheeled platform he is mounted on
rolling back against the wall.
INT. INTERROGATION ROOM
The door creaks open as Evey enters the room where for so
long she was questioned and tortured.
She crosses to the frozen Interrogator sitting at his desk.
Her finger brushes lightly against the plastic hand, then
Evey raps a knuckle on his hollow wooden head. Around his
neck a small speaker hangs from a cord.
Evey drifts uneasily into a back room where a discarded
prison guard's uniform hangs on a rack. On a table next to a
wig and pair of gloves, the rat looks up at her through the
bars of its tiny cage.
She moves through another door, the wind suddenly knocked
from her chest as she finally sees where her prison was
built --
INT. SHADOW GALLERY
V steps from the shadows.
V:
Welcome home, Evey.
EVEY:
You...
EVEY:
You did this... to me.
Evey's rail thin figure begins to shake.
EVEY:
You did this to me!
She stumbles against the wall, unable to support herself.
EVEY:
You -- You hit me and -- and cut my
hair. It was you. It was just you
all this time.
She doubles over, covering her face as she bursts into tears.
EVEY:
You tortured me. You tortured me --
Evey looks up at him, body shivering as he quietly glides
toward her.
EVEY:
Oh god, why?
V:
Because I love you, Evey. Because
I wanted to set you free.
EVEY:
Love?
A look of horror twists her starved face.
EVEY:
Set me free? Don't you realize?
Slender fingers ball into fists.
EVEY:
Don't you realize what you did to
Disgust and anger light up her eyes.
EVEY:
I hate you.
Her little, wiry body coils tight as she circles him.
EVEY:
I hate you! Set me free? You put
me in a prison to set me free?!
V:
You were already in a prison.
You've been in a prison all your
life.
EVEY:
Shut up! I don't want to hear it.
I wasn't in a prison. I was happy!
I was happy here --
V:
Happiness is the most insidious
prison of all, Evey.
EVEY:
That's warped! That's evil and
it's wrong! What gives you the
right to judge? Who are you to say
what's not good enough?!
V:
You were born in a prison, Evey. I
didn't put you there. I just
showed you the bars. You've been
in a prison so long, you no longer
believe there's an outside world.
She wheels away from him, covering her ears, trying to get
away from his voice.
EVEY:
Shut up! You're mad! I don't want
to hear it!
V:
That's because you're afraid, Evey.
You're afraid because you can feel
freedom closing in on you. You're
terrifying.
Evey falls, stumbling through the labyrinth of the Shadow
Gallery.
EVEY:
I can't feel anything! There's
nothing left to feel! Don't you
understand?
V:
Don't back away from it, Evey.
Part of you understands the truth
even as part pretends not to.
She collapses, head pounding.
V:
Woman, this is the most important
moment in your life. Don't run
from it.
EVEY:
I don't know what -- Oh god -- I
can't breathe --
V couches next to her.
V:
Good. You're almost there. Go
closer. Feel the shape of it.
EVEY:
What are you doing to me? I can't
breathe --
V:
You were in a cell. They offered
you a choice between the death of
your principles and the death of
your body.
He cradles her as she hyperventilates, tears streaming down
her face.
EVEY:
I feel -- I feel like I'm going to
burst.
V:
You said you'd rather die. You
faced the fear of your own death
and you were calm. Try to feel now
what you felt then.
EVEY:
Oh god -- I felt --
The mask hovers over her.
EVEY:
Like an angel --
He squeezes her shuddering body.
EVEY:
Oh god, V, I'm so scared. What's
happening to me?
V:
The door of the cage is open, Evey.
All that you feel is the wind from
outside. Don't be afraid.
Gently, he lifts her.
V:
Try to walk. The lift will take us
to the roof.
EVEY:
The roof? Outside?
He helps her to an open elevator.
EVEY:
I -- I don't want to be
blindfolded.
V:
No, Evey. No more blindfolds.
The cage in the elevator rattles shut.
EXT. ROOF - NIGHT
The two figures stand in the door of the roof access, a
raging tempest oozing from a split sky.
Something draws Evey out into the storm.
Slowly, she walks beneath it, the wind and rain pounding
against her thin frame. Evey lets the coarse slipover fall
to the ground and stares straight up into the storm, naked,
the elements soaking into her very being.
V:
Do you feel it?
EVEY:
Everything's so -- different.
V:
I know. Five years ago, I too
stared beneath a night like this.
A low rumble of thunder washes over London.
V:
The night is yours, Evey. Seize
it. Encircle it within your arms.
His words buffet against her with the sheets of rain.
V:
Bury it in your heart up to the
hilt.
She raises her arms to embrace the raging torrent.
V:
Become transfixed and
transfigured --
A jagged bolt of lightning shatters the sky.
V:
Forever.
EXT. NEW GOVERNMENT BUILDING
Finch gets out of a police car and looks up the black face of
the modern building. He sighs and taps his pipe against the
heel of his shoe.
DASCOMBE:
Finch!
Finch turns to find Dascombe hurrying towards him.
DASCOMBE:
Do you know what this is all about?
FINCH:
No, but I can guess.
DASCOMBE:
What?
FINCH:
"Remember, remember, the fifth of
November."
DASCOMBE:
Oh come on. He's long gone. He
has to be. He did what he came to
do and it's over.
Finch chews on his pipe.
DASCOMBE:
Isn't it?
FINCH:
Not for us.
He turns and heads into the building.
FADE OUT.
FADE IN:
EXT. NEW GOVERNMENT BUILDING - DAY
A dark November sky hangs like a shroud over the building.
LEADER (V.O.)
A year, gentlemen.
INT. COUNCIL CONFERENCE ROOM
The heads of each department are gathered around a table of
black granite.
Peter Creedy, sitting back out of the lights, is the new head
of the Finger.
LEADER:
I have given you almost a year and
you have given me nothing.
Nothing!
He glares at Finch.
DASCOMBE:
Now Adam, there is no one better
than Finch and you know it.
LEADER:
Yes, Mr. Dascombe, I do know it.
It is that very fact that keeps me
awake at night, wondering if
perhaps there is a reason that Mr.
Finch has failed.
FINCH:
What are you saying?
LEADER:
I'm saying that perhaps I don't
know you as well as I thought I
did.
FINCH:
Are you asking for my resignation?
LEADER:
No, I am asking for some goddamn
results!
DASCOMBE:
It's not Finch's fault, Adam.
CONRAD:
We've all been looking. The man
simply disappeared.
ETHERIDGE:
Vanished.
DASCOMBE:
He's gone, Adam. It's over.
The Leader trembles like a volcano set to blow.
LEADER:
It's over, is it? He's gone.
Vanished, you say?
The Leader grabs a large box from the floor and hurls reams
of computer printout across the table.
LEADER:
Transcripts recorded over the last
thirty days in which the terrorist
was talked about or mentioned in a
positive context. This is only
thirty days!
He punches a "play" button and a wall of monitors blink on.
It is a recording of a television variety show.
A character that is made to look like Adam Susan is giving a
speech. A woman is dressed like V except that the only thing
she is wearing under her cloak is a garter belt, stockings
and high heels.
V sneaks up behind Susan and yanks his pants down. Susan is
outraged but when he gives chase he trips over his pants.
LEADER:
Is this what you consider,
"disappeared?"
DASCOMBE:
For god's sake, Adam, it's a stupid
variety show.
LEADER:
Mr. Creedy, I want the producers,
writers, and actors of that "stupid
variety show" arrested and charged
with sedition.
CREEDY:
Yes, sir.
DASCOMBE:
You can't be serious --
LEADER:
Push me, Roger, push me and you'll
find out how serious I am.
He stares each of them to silence.
LEADER:
This, this V is still out there. I
can feel him like a sickness
worming its way into the hearts and
minds of the public. Something
must be done, and done quickly, to
exorcise this demon for the very
soul of this country is at stake.
He pauses.
LEADER:
That is why I am compelled to give
each and every one of you notice
that if by the fifth of November
you are still giving me nothing
more than excuses, I will have to
terminate your positions.
Everyone is stunned.
LEADER:
Mr. Creedy, I will speak with you
in private. The rest of you are
dismissed. England prevails.
INT. LEADER'S PRIVATE QUARTERS
The Leader stands at the window.
LEADER:
Mr. Creedy, as the new head of the
Finger, you are the most important
member of my cabinet.
CREEDY:
I, uh, appreciate your faith in me.
LEADER:
Your predecessor, Mr. Almond, was a
good man, a man who understood what
strength in unity meant, a man who,
above all, loved his country. I
need to know if you are such a man.
His eyes bore into him.
LEADER:
Do you love your country, Mr.
Creedy?
EXT. ALLEYWAY
A police car is parked in a dark alley. It is raining and
the windows of the car are completely steamed.
CREEDY:
Oh god, yes!
He is sweating, his knuckles white as he squeezes the
steering wheel, panting.
We hear a noise like a very wet kiss and then a woman's
voice.
HELEN:
"The most important member of my
cabinet." Yes it is, isn't it,
dear?
Helen lifts her head out of his lap. Her lipstick is smeared
about her mouth.
CREEDY:
Oh, don't stop.
HELEN:
I stop when you stop. What did he
say next?
CREEDY:
I can't --
She whispers in his ear while playing with his lap.
HELEN:
Come on, Peter, what are you afraid
of? Almond used to tell me
everything and you're twice the man
he was.
CREEDY:
country.
HELEN:
Oh yes, I can tell you do love your
country, almost as much as you love
this...
She lowers her head into this lap.
CREEDY:
Oh god...
HELEN:
Go on.
CREEDY:
Then he asked me to do something...
oh, oh...
HELEN:
What?
CREEDY:
Helen, I can't. I can't tell you.
Helen lifts her head.
HELEN:
He told you to frame someone as the
terrorist.
CREEDY:
My god?! How did you know that?
HELEN:
I know Adam Susan. Now who was it?
CREEDY:
No way. I can't tell you that.
HELEN:
Yes you can, honey. You can and
you will. You have to trust me,
love. We're going to help each
other.
CREEDY:
Helen, please.
HELEN:
Look at that face. You see?
You're just bursting to tell me.
Her head drops back down. Creedy moans.
HELEN:
Now who was it?
CREEDY:
It was... Fi... Fi... FINCH!
The name seems to orgasm from his mouth.
INT. FINCH'S APARTMENT
Finch sits alone in his modest apartment, reading a book.
The book is Koesterler's, "The Roots of Coincidence."
An old CD player is playing music, a Bach piano concerto.
INT. SHADOW GALLERY
V is playing the exact same concerto on his piano, his gloved
fingers gracefully flitting across the keys.
Evey enters the gallery. Her hair has grown out but is still
short. She projects a kind of strength that comes from a
deep inner peace.
V coaxes the final delicate notes and lets them softly fade.
EVEY:
That was beautiful.
She walks up to him and takes the smiling face in her hands.
EVEY:
I've wanted to do this for a long
time.
She bends and gently kisses the frozen lips.
EVEY:
Thank you, V. Thank you for
everything you've done for me.
V:
You did it all yourself, Evey. I
just provided the backdrop but the
drama was all your own.
EVEY:
It was a good backdrop. I believed
it. I really did. It's still a
bit hard for me to accept that it
wasn't real. That it was just you.
Especially the letter.
She takes the letter from her pocket.
EVEY:
It is a beautiful letter, V. Every
time I read it I could feel
Valerie, almost like she was
holding me. I believed in her most
of all. I believed that she loved
me and I loved her back.
She looks down.
EVEY:
I feel a bit foolish telling you
this. I know that you must have
written it and thought you should
have it back.
V:
But I didn't write that letter,
Evey.
EVEY:
What?
V:
Come with me.
INT. VALERIE'S ROOM
It is a shrine. The walls are covered with movie posters and
reviews and pictures of an actresses named Valerie Page. We
recognize her as the woman chosen for the medical block just
before V.
Everywhere there are flower boxes filled with blooming roses;
violet carsons.
EVEY:
Valerie?
V:
Yes. Valerie Page. She was the
woman in room four.
EVEY:
She's beautiful.
V:
She wrote the letter just before
she died. I delivered it to you as
it was delivered to me. The words
you wept over were the same words
that transformed me.
Evey smiles and bends to smell the roses.
EVEY:
Roses. You grew them for her.
V:
Yes.
EVEY:
They're beautiful.
V:
Evey, do you know what day it is?
EVEY:
Two days before the first day we
met.
V:
You remembered.
EVEY:
You're planning something, aren't
you, V?
V:
You know me too well now.
EVEY:
What are you going to do?
V:
promise.
Evey c*cks an eyebrow.
V:
I'll show you.
INT. UNDERGROUND STAIRWELL
Carrying a lantern, V leads Evey down a dark stone staircase.
EVEY:
I've never been here before.
V:
Yes. It is the deepest part of my
home. Once you know it, I should
think you'll know everything.
He pushes a button and a secret passage opens in a heavy
stone wall.
There is a small narrow series of passageways that he guides
her through, leading to another door. Evey steps out into an
underground subway station.
INT. VICTORIA STATION
Parked beside the concrete platform is a beautiful antique
train car.
EVEY:
Oh, V, it's lovely. Where on earth
did you find it?
V:
In a way, I suppose it really found
me.
Evey steps into the train car and finds it filled with little
packages wrapped in wax paper.
EVEY:
What's in these packages?
V:
Gelignite.
She screams and almost drops one.
V:
Careful.
EVEY:
What are you going to do with all
of it?
V:
I told you. I'm going to finish
what was started four hundred years
ago.
EVEY:
Where does this train go?
V:
This is the old Victoria line but
it is blocked, blocked somewhere
between Whitehall and St. James.
EVEY:
Whitehall... V, that's the New
Government Building.
V nods.
EVEY:
But the underground has been shut
down for years. How are you going
to make it run without any power?
V:
I just thought I might ask them to
turn it on for me.
INT. LEADER'S OFFICE
The Leader sits bathed in the flickering images of the Fate
computer.
LEADER:
Yes, Mr. Creedy?
CREEDY:
Everything's set, sir. No worries.
LEADER:
When?
CREEDY:
Tonight.
On one of the screens, a television program has just begun.
ANNOUNCER:
Tonight on Tales from the Bible, a
story of treachery and betrayal
from the Book of Daniel.
We cut from that screen to another screen --
INT. JORDAN TOWER - CONTROL BOOTH
The television studio where Roger Dascombe surveys a large
bank of monitors filled with the images of typically vapid
television entertainment.
DASCOMBE:
All of London's waiting. Ready,
two. And here we go --
A player locks on as a recorded program begins. We move in
as the logo slashes across the screen: Storm Saxon.
ANNOUNCER:
Tonight, England's greatest hero
repels the forces of darkness in a
brand new episode.
We pull back from the show's opening teaser and find
ourselves looking at a small television.
INT. JORDAN TOWER
In the delivery bay at the back of Jordan tower, five
security guards are riveted to the heroic actions of Storm
Saxon.
HEIDI:
Oh, Storm. Save me! Save me!
STORM:
You mongrel trash, if you harm her!
MONGREL TRASH:
Look out, de white debil has a
laser lugar!
Behind them, a shadowy figure in a cloak and tall hat enters
the loading bay.
GUARD:
Hey, what the -- ?
They all turn and find a smiling V.
They go for their weapons. V goes for them. It is brutal
and quick, knives slicing in bloody arcs, bodies kicked and
thrown with superhuman power.
The TV crashes to the ground and we move in at it as Storm
Saxon stands triumphant beside his buxom lass.
HEIDI:
Oh Storm, hold me. Hold me tight.
We pull back on another television screen inside --
INT. FINCH'S OFFICE
Dominic is chewing on a hamburger, engrossed in Storm Saxon.
Across the room, Finch is reading the "Roots of Coincidence."
FINCH:
I don't know how you stand that
tripe.
Dominic answers with a mouthful of cheeseburger.
DOMINIC:
Es gooh.
Finch shakes his head, reaching for his pipe. He realizes he
is out of tobacco. He slides open the bottom desk drawer and
his eyes almost pop out of his head.
He stares into the drawer like someone staring at his own
tombstone.
DOMINIC:
Finch? Finch, what's wrong?
Slowly, he lifts something from the drawer. On his desk, he
lays out several knives, a cloak, a hat, and a smiling mask.
DOMINIC:
What the hell?
Finch lifts the mask and almost has to laugh.
FINCH:
Don't you see, Dominic?
He puts the mask to his face.
FINCH:
I'm V.
INT. JORDAN TOWER
V emerges from an elevator and immediately attacks several
more guards. A surveillance camera watches as V steps over
their slumped, broken bodies.
INT. CONTROL CENTER
The security guard sees V on the monitor coming directly down
the hall.
GUARD:
Bloody hell!
He grabs the machine gun, aiming it just as V kicks open the
door.
GUARD:
Freeze!
V stops. At least five guards have trained their weapons on
him. He is surrounded.
Slowly, he lifts his arms as though surrendering. His cloak
opens, revealing enough TNT to level the entire building. In
his hand is the plunger detonator.
GUARD:
F*** all.
V nods.
INT. FINCH'S OFFICE
The door bursts open as Creedy and a group of heavily armed
Fingermen muscle in.
DOMINIC:
Creedy? What the hell's going on?
CREEDY:
I'm here to arrest Mr. Finch for
acts of treason and terrorism.
DOMINIC:
You can't be serious.
CREEDY:
If I were you, boy, I'd shut my
hole unless you want to start
explaining why you didn't say
nothing about Mr. Finch's secret
identity.
INT. JORDAN TOWER
V follows Roger Dascombe into the main control booth. The
door shuts behind them and they are alone.
All around them are the laugh tracks and gunshots of the
evening's entertainment.
V puts his hand into his cloak and pulls out a videotape. He
hands it to Dascombe.
INT. FINCH'S OFFICE
Finch glares at Creedy.
FINCH:
Why don't you just shoot me,
Creedy? Wouldn't that make
everything a lot simpler?
CREEDY:
Yeah, I suppose it would.
Creedy smiles, his finger tightening on the trigger when --
DOMINIC:
Holy Christ! Creedy, you stupid
ape! If Finch is V then tell me
who is that?
He points at the television where V sits calmly at a desk in
front of the "VTV" logo.
V:
Good evening, London.
CREEDY:
Bloody f***in' hell.
V:
I thought it was time we had a
little talk.
FINCH:
He has to be at Jordan tower. Come
on!
Finch and Dominic rush out of the room. Creedy looks at his
confused men.
CREEDY:
Don't just stand there! Follow
them!
INT. LEADER'S OFFICE
V smiles at the horrified Adam Susan.
V:
Are you sitting comfortably? Good.
Then I'll begin.
The Leader screams, pounding on Fate.
LEADER:
Damn you! Damn you!
He hits the intercom.
LEADER:
Lieutenant, ready my transport. I
hundred miles at Jordan tower.
Now!
We move in at VTV.
V:
Right now, I imagine there are
hundreds of soldiers rushing here
to kill me because someone does not
want us to talk.
We pull back in --
INT. LIVING ROOM
A family watching television. In the background, two
children are squabbling.
MOTHER:
Hush. Turn it up.
The husband does. V's voice gets louder as we move towards
him.
V:
They are afraid that I am going to
say the things that are not
supposed to be said. They are
afraid that I am going to say the
truth.
INT. APARTMENT
A man sits on his couch, mesmerized by V.
V:
something terribly wrong with this
country, isn't there? If you look
about, you witness cruelty,
injustice and despotism. But what
do you do about it? What can you
do?
He pops his beer tab and the beer foams over the couch but he
doesn't seem to notice.
INT. FINCH'S POLICE CAR
The car races wildly towards Jordan tower as Finch and
Dominic listen to the broadcast on the radio.
V (V.O.)
You are but a single individual.
How can you possible make any
difference? Individuals have no
power in this modern world.
That is what you've been taught
because that is what they need you
to believe. But it is not true.
INT. LEADER'S TRANSPORT
The Leader seethes, staring at three television monitors in
his limo which are all filled with V.
V:
This is why they are afraid and the
reason that I am here; to remind
you that it is individuals who
always hold the power. The real
power. Individuals like me. And
individuals like you.
The bar is almost completely soundless except for the voice
of V. People stare at the television as if the moment were
somehow suspended in time.
V:
I have come to offer you a deal.
If you accept, I will give you a
different world. A world without
surveillance systems. A world that
is not run by other men but that is
run by you. I am offering you a
second chance.
EXT. JORDAN TOWER
The military forces have begun to swarm.
V:
Four hundred years ago, a great
citizen made a most significant
contribution to our common culture.
It was a contribution forged in
secrecy and stealth although it is
best remembered in noise and bright
light.
EXT. TELEVISION STORE
A crowd has gathered, watching through the window.
V:
To commemorate that glorious night
midnight, the edifice of their
world will erupt with enough sound
and fury to shake the earth. All I
ask is that you join me at the
gates to watch as the past is
erased, the pathway cleared so that
together we can start toward a new
day.
EXT. JORDAN TOWER
The Leader climbs out of his limo and is met by one of his
captains.
LEADER:
I want this man dead! I want him
shot on sight!
CAPTAIN:
Yes, sir.
INT. FINCH'S CAR
Finch can see the forces gathering outside Jordan tower.
V (V.O.)
But, you ask, who am I to make such
promises? A fair question but
hardly necessary as you know me
already. To know me any more you
need only look to a mirror.
Finch catches a glimpse of himself in the mirror.
INT. CONTROL BOOTH
V:
Truth be told, this wasn't even my
idea, was it? If you think back,
you'll remember that night,
whispering in your lover's arms. I
became a part of your plan just as
you have now become part of mine.
Give me the line of the queen and
I'll give you your secret dream.
A heavy battering ram is rushed down the hall, carried by
four soldiers.
V (V.O.)
On the twelfth stroke of the fifth
day of the eleventh month, I hope
we shall all meet again.
EXT. TELEVISION STORE
The crowd is much larger.
V:
Until then, I bid you goodnight.
Every screen suddenly goes black. The crowd turns to each
other, unsure of what to do.
INT. CONTROL BOOTH
The door explodes open. V is standing alone, almost as if
waiting for them.
Before he can even move, they shoot. Machine gun fire lights
up the room. V's body dances and jerks backward, smashing
through an observation window --
Falling to the television stage below.
INT. HALL
A path is cleared for the Leader. As he heads into the
television studio, an armed soldier is heading in the
opposite direction.
It is impossible to tell because of the dark face plate but
it looks like the soldier is smiling.
The Leader shoves his way onto the main stage. A group of
soldiers is gathered around the body.
LEADER:
Who was it? Who was he?
The mask is pried off, revealing the lifeless face of Roger
Dascombe. To the Leader, it is an obvious revelation.
LEADER:
Roger Dascombe! Of course. Of
course! It makes such perfect
sense.
CAPTAIN:
mistake.
LEADER:
No! There is no mistake!
CAPTAIN:
But sir, there are people that say
they saw both the terrorist and
Dascombe together --
LEADER:
Who? Who are these people? They
must be detained immediately.
Whatever they saw or whatever they
think they saw is subordinate to
the truth and that truth is that
Roger Dascombe is the terrorist and
the terrorist is dead!
FINCH:
But I thought I was the terrorist.
Finch's voice stops the Leader cold.
LEADER:
Finch, what are you doing here?
FINCH:
Since I'm not in jail and since you
have another, even more convenient
suspect. I'm guessing the charges
have been dropped.
LEADER:
Be careful, Finch.
FINCH:
I am careful, sir. Always. That
is why I suggest that a search of
this building begin immediately.
LEADER:
The terrorist is dead!
FINCH:
With all due respect, I disagree
and I believe that he is presently
trying to get out of this building
disguised as one of us.
LEADER:
Are you challenging my authority?
FINCH:
No sir, I'm trying to run an
investigation --
LEADER:
I am trying to run a country! When
I tell you, Mr. Finch, the
terrorist is dead, then the
terrorist is dead! If you continue
to suggest otherwise then you will
leave me no choice but to have you
arrested on charges of sedition.
Do I make myself clear?
He eyes the room. Everyone is silent.
LEADER:
Now, it is imperative for the
people of London to know that they
are safe, that the terrorist is
dead and everything is under
control.
The Leader storms past Finch who looks at Dascombe and bites
down on his pipe.
EXT. CITY STREET
One of the Ear's black vans has been modified with large
speakers wired to the roof. As the van rolls down the
street, the speakers drone with a looped message.
SPEAKERS:
The terrorist is dead. No further
threat exists. Everything is under
control.
Out of the back, soldiers hurl leaflets that swirl and
flutter in the van's wake.
The little girl on the bicycle that we saw earlier stops and
picks up one of the leaflets.
It has a picture with the body of Roger Dascombe beneath the
headline, "The terrorist is dead! London is safe once
again!"
LITTLE GIRL:
Bollocks.
She crumbles the leaflet and throws it.
LITTLE GIRL:
Bollocks!
She gets off her bike and takes something out of the
backpack.
LITTLE GIRL:
He's not dead! It's all bollocks!
Turning to a nearby wall, she spray paints a large circle
around a "V".
INT. FINCH'S OFFICE
A recording of VTV plays on the small television.
V:
... if you give me the line of the
queen, I'll give you your secret
dream.
Dominic freezes the image; V stares at them, smiling.
FINCH:
Play it again.
DOMINIC:
Come on, Finch. We've seen it
fifty times. I mean, after what
they done to you, I don't know why
we're even trying to stop him.
Finch stares out the window.
FINCH:
I don't know. For twenty seven
years, I've been at this job.
Twenty seven years, I've done what
I've been told to do. Maybe that's
all there is to it. I'm just a
dumb old dog. A dumb old dog that
only knows one trick.
DOMINIC:
That ain't it, Finch. It's more
than that. I know you. It's
something personal with this one.
Finch smiles.
FINCH:
Maybe. And maybe I'm not ready for
a revolution.
DOMINIC:
Well, we got less than thirty hours
to stop it.
FINCH:
We will.
DOMINIC:
How?
FINCH:
It's on the tape. I know it. I
can feel it. He did this for a
reason. He needs something.
DOMINIC:
What?
FINCH:
The line of the Queen?
DOMINIC:
But what does that mean?
FINCH:
Maybe it's a line from Shakespeare.
Or a book. I don't know.
He rewinds and starts the tape.
V:
... This wasn't even my idea, was
it?
FINCH:
But right here. He's talking to
someone. Someone specific.
Someone who knows what he wants.
V:
If you think back, you'll --
INT. CONRAD'S BEDROOM
V continues on a different television.
V:
Remember that night, whispering in
your lover's arms.
Helen Heyer is lying on her bed, eating chocolates, watching
V through calculating eyes.
At her feet, we hear a suckling noise that suddenly stops.
CONRAD:
Helen? Helen, why did you want
that tape?
HELEN:
Shut up, Conrad. I'm thinking.
She shoves her foot back into his mouth and he continues to
suck on it and each of her toes.
V:
... now you've become a part of
mine.
HELEN:
How? How did you know that?
Conrad moves up her ankle, licking and kissing his way to her
knee.
CONRAD:
Know what, my love?
V:
Give me the line of the Queen and
I'll give you your secret dream.
She freezes the tape. Her eyes light up and she smiles back
at him.
HELEN:
All right. You have a deal.
Conrad licks along the inside of her thigh until she slaps
him.
HELEN:
Oh no! Not you. Conrad. Not yet.
Here you can have a chocolate.
Open up. Open!
She shoves the candy in his mouth.
HELEN:
Good boy. As for the rest of the
box, perhaps when you're Leader.
She smiles.
HELEN:
Right now I need something else
Conrad. I need you to use that
pretty little brain for me. You
know all about the old underground,
don't you?
He nods still gagged with the candy.
HELEN:
I need to know everything,
understand? Everything.
INT. LEADER'S OFFICE
There are cameras set in front of the large black leather
chair so that the flashing images and data of the Fate
computer system can be seen behind the Leader.
A makeup artist mattes down the Leader's lipstick.
ASSISTANT DIRECTOR
Ready in five, Leader.
The makeup artist adjusts one last hair and scurries off.
ASSISTANT DIRECTOR
In four, three...
He points and the camera's red light goes on.
INT. LIVING ROOM
The same family, the same squabbling children watching as a
"Special Bulletin" interrupts a laugh track.
LEADER:
Good evening London. As Leader of
this great country, I felt it
imperative to speak with you and to
assure you once and for all that
across our land has indeed passed.
WOMAN:
Oh, for f***'s sake.
EXT. TELEVISION STORE - NIGHT
No one is watching.
LEADER:
What we have endured this long year
was no accident, no mere
coincidence. This was not a simple
singular madman. No, this was a
test.
A drunk struggles up onto his bar stool blocking the TV.
LEADER:
It was not me, nor the Party, nor
the government that was threatened
this year. It was our beliefs.
Our faith. I believe that God
himself bore witness to our
struggle and like Job I believe
that we have been vindicated.
DRUNK:
Remember fifth of November!
The bar cheers.
INT. LEADER'S OFFICE
The Leader reaches for his Bible.
LEADER:
How do I know this? Let me read to
you where I found the answer, where
I so often find the answer. In the
Scripture. Revelations.
The megaphones blast the Leader's voice.
LEADER (V.O.)
"If any man have an ear, let him
hear."
INT. FINCH'S OFFICE
There are stacks of printout everywhere.
LEADER (V.O.)
"He that leadeth into captivity
shall go into captivity; he that
killeth with the sword shall be
killed with the sword. Here is the
patience and faith of the Saints."
Finch stops reading, listening to the radio.
LEADER (V.O.)
"And I beheld another beast coming
out of the Earth; and he had two
horns like a lamb and he spake as a
dragon."
INT. SHADOW GALLERY
Another radio crackles with the Leader's voice.
LEADER (V.O.)
"And he doeth great wonders, so
that he maketh fire come down from
Heaven on the Earth in the sight of
men."
V nods, almost laughing as Evey enters the gallery.
LEADER (V.O.)
"And he deceiveth them that dwell
on the Earth by the means of those
miracles which he had the power to
do --"
EVEY:
Oh, V, turn it off, please.
V:
Of course, my dear.
He reaches over and changes the frequency. We hear voices,
hushed and secret but we recognize them.
CREEDY (V.O.)
But how does he know?
HELEN (V.O.)
I don't know. All I know is he
does... And I know what he wants.
The voices are labored, punctuated by gasps and moans.
EVEY:
What is that, V?
V:
That, Evey, is what I have been
waiting for.
CREEDY (V.O.)
Do you know what I want? I want
you just like this... Bent over
We are pulled by the radio into --
INT. CREEDY'S BEDROOM
Where we see a tiny microphone hidden in the ceiling light
above the bed.
Helen moans as we drift down, glimpsing Helen, her arms
reaching for the edges of the bed, her back arching up
towards Creedy, behind her, smiling.
CREEDY:
What about Conrad?
HELEN:
I told you, I'll handle Conrad and
V will take care of Susan. The mob
will take care of the guard and
then... You can use the Finger to
take over.
CREEDY:
Use the Finger? You mean like
this?
HELEN:
Oh... oh... that is vulgar...
CREEDY:
But you like it?
HELEN:
Yes, oh yes, oh you're a pig,
Peter...
CREEDY:
That I am, misses. But I'm the pig
country.
That sends a shiver through Helen's body.
HELEN:
Yes and I'm... I'm going to be
Eva... Oh Eva...
Her eyes close and her fists knot the sheets.
HELEN:
"Don't cry for me Argen... oh
Argen... Argen... tina!
The word is almost lost in her orgasm.
EXT. LONDON
The sun rises over London. It is the morning of the fourth.
INT. FINCH'S OFFICE
Finch looks through the blinds at the morning sun. He has
been up all night. He checks his watch: 6:00am.
FINCH:
Eighteen hours.
Rubbing the knot in his neck, he turns back to his office
which is now buried beneath mounds of paper.
Dominic is passed out, sprawled on the couch, and clutching a
printout from Spencer's "Fairy Queen."
FINCH:
Dominic!
Dominic jumps, immediately searching the printout.
FINCH:
Dominic, go home.
DOMINIC:
But I've still got over three
hundred lines from The Fairy Queen.
FINCH:
Forget it. There's no more time.
You go home and get some rest.
You're going to need it tonight.
Dominic lets the papers fall to the floor.
DOMINIC:
He's got us, doesn't he, Finch?
FINCH:
Yes, he does.
EXT. NEW GOVERNMENT BUILDING
Conrad pulls his car into his reserved space.
INT. CAR
Helen holds Conrad's chin the way a mother holds a child when
she is telling them something important.
HELEN:
Now listen to me, Conrad. This is
the most important moment of our
lives. Everything I've worked and
hoped for comes to this. Susan is
a very dangerous man, especially
now, that's why I need you, Conrad.
I need you to be stronger than him.
I need you to be the better man.
Understand?
Conrad nods.
HELEN:
If you do this Conrad, and you do
it right, I'm going to turn you
from the little man I married into
the man of my dreams.
CONRAD:
Oh, Helen.
He embraces her to kiss but she turns her perfectly painted
lips.
HELEN:
Not on the lips.
Ardently, he kisses her cheek.
INT. FINCH'S OFFICE
Finch sits alone, palms pressed to his bleary eyes.
FINCH:
Give it up, old man. You're not
even sure you want to stop him.
With a red pen, he begins absently drawing red circles around
any V he sees on any piece of paper.
Victims. Vectors. Values. Victory. Words from quotes and
lists.
Suddenly, he stops. Carefully, as if reaching to touch a
butterfly, he slips a single sheet out from the sheaves
covering his desk.
The paper has a long list: the names of all the Queens of
England. He has circled in red the V in Victoria.
When it hits him, it hits him like a falling safe.
FINCH:
Christ! That's it! It's got to be
it!
INT. LEADER'S OFFICE
LIEUTENANT (V.O.)
Sir, Mr. Heyer is here to see you.
Says it's urgent. And he's here
with his wife, sir.
LEADER:
His wife?
LIEUTENANT (V.O.)
Sir, yes, sir -- Wait, you can't
go --
The door slaps open.
HELEN:
Leader, I'm terribly sorry but I
absolutely must speak with you.
The Leader waves the Lieutenant off.
HELEN:
I have something to tell you,
something important but --
She glances at Conrad.
HELEN:
I can tell you and only you. In
private.
HELEN:
It is a matter of national
security.
EXT. CITY STREET
In his car, Finch races to a corner and slams on the brakes.
He gets out, staring at a shadow on the ground: a "V" in a
circle.
The shadow is cast by a sign for Victoria Station, part of
the abandoned subway.
The gates are chained shut. He fires his pistol into the
lock, kicks open the rusting gates, and descends into the
underground.
INT. LEADER'S PRIVATE QUARTERS
The Leader closes the door behind them.
LEADER:
Now what's this all about, Mrs.
Heyer?
HELEN:
Please, forgive me. I've been so
afraid, afraid to come here to talk
to you. I thought he must know. I
was terrified he knew but I had to
come because I knew you were the
only one that can protect me.
LEADER:
Protect you from what?
She is unable to go on, seemingly about to burst into tears.
LEADER:
Come now, Mrs. Heyer.
He touches her and it is all she needs. She buries her face
into his chest.
HELEN:
You won't let him hurt me, will
you?
LEADER:
Let who hurt you?
HELEN:
The terrorist.
LEADER:
The terrorist is dead.
HELEN:
Oh, how I wanted to believe it,
Leader, but I know it's not true.
LEADER:
How?
HELEN:
Because I know who the terrorist
is.
INT. LEADER'S OFFICE
Conrad is alone with Fate. He glances about nervously,
moving closer and closer. His fingers reach out and graze
the main keyboard. Taking a deep breath, he turns and begins
to type.
INT. PRIVATE QUARTERS
The Leader takes hold of Helen by her shoulders.
LEADER:
Who? Who is it, woman?
HELEN:
It's Conrad, Leader. Conrad. My
husband is the terrorist.
LEADER:
What?!
INT. LEADER'S OFFICE
Conrad accesses the department of water and power. He finds
the correct file and begins rerouting power to a once dead
system.
INT. V'S TRAIN STATION
A hanging light suddenly sizzles to life. V looks up,
smiling.
INT. LEADER'S PRIVATE QUARTERS
The Leader stares hard at Helen.
LEADER:
How do you know?
HELEN:
I saw him, Leader. In the middle
of the night. I heard something.
I went to the landing and that's
when I saw it.
She clutches him.
HELEN:
That mask. That hideous smiling
mask.
LEADER:
But how did you know it was Heyer?
HELEN:
I know, Leader. I know the way a
woman knows.
LEADER:
But you have no proof?
HELEN:
Proof?
LEADER:
Yes, proof? This is an extremely
delicate situation, Mrs. Heyer. It
has been reported that the
terrorist is dead. It would be a
catastrophe to arrest a man now
without concrete, conclusive proof.
Do you have any evidence at all?
Tears well up in Helen's eyes as she shakes her head.
LEADER:
But if you're right, if Heyer is
indeed the terrorist...
His eyes fly wide and he spins away from her, throwing open
the door.
HELEN:
Leader! Wait!
INT. LEADER'S OFFICE
Conrad sits calmly across the room.
CONRAD:
Is everything all right? Helen?
LEADER:
Yes, Mr. Heyer, your wife has done
her duty to her country.
He turns to Helen.
LEADER:
Don't worry, Mrs. Heyer. You will
be taken care of. I will launch an
immediate investigation and I
promise, you will be the first to
know when an arrest will be made.
CONRAD:
Investigation of what?
LEADER:
Subversion, Mr. Heyer. Your wife
subversives. That's all you need
to know at this time. Lieutenant!
The Lieutenant appears almost instantly.
LEADER:
The Heyers are leaving. I need to
see Mr. Creedy at once.
Helen looks up at the Leader, a smile hidden near the corners
of her perfect red lips.
HELEN:
Thank you, sir.
The Leader nods.
INT. NEW GOVERNMENT BUILDING
Helen and Conrad get out of the elevator, standing beneath
the rows of new party flags that line the lobby.
HELEN:
I want you to go straight to your
office and wait for me to call.
When I do, I want you to come
immediately home. Understood?
CONRAD:
Yes, Helen.
She embraces him, pressing her body against his.
HELEN:
Oh, Conrad, I'm so proud of you.
CONRAD:
I did it, Helen. I did it, didn't
I?
HELEN:
Tonight, Conrad.
CONRAD:
Tonight.
HELEN:
I promise you will never forget
tonight.
HELEN:
Goodbye, Conrad.
Smiling, she pivots on her heel and heads for the door. He
reaches for her when --
GUARD:
Mr. Heyer! Mr. Heyer!
The front desk guard rushes towards him.
CONRAD:
Yes?
GUARD:
Sir, this package arrived for you,
sir.
He hands him a small, brown wrapped box.
CONRAD:
Thank you.
He looks back for Helen but she is already gone.
INT. SUBWAY
A single flashlight beam creeps toward us as Finch searches
the detritus of the dead train line.
INT. CONRAD'S CAR
Sitting at a stoplight, Conrad decides to open the package.
Inside is a cassette tape. The light changes and a car
behind him honks. He starts forward and inserts the tape.
INT. SUBWAY
Finch crawls up onto the platform of V's hidden station,
staring at the beautiful old train car.
INT. CONRAD'S CAR
Strangling the steering wheel, Conrad listens to the tape.
The speedometer climbs as everything seems to accelerate.
TAPE (V.O.)
Do you know what I want? I want
you just like this... bent over
Helen moans.
INT. TRAIN CAR
Finch steps inside the car, his flashlight sweeping over the
stacks of gelignite.
FINCH:
Oh my god.
INT. CONRAD'S CAR
A scream builds in Conrad. With tears in his eyes, he stares
out the windshield but sees only the images created by the
tape.
TAPE (V.O.)
Use the Finger?... You mean like
this?... Oh... That's vulgar... But
you like it?... Yes... oh yes.
Conrad loses control and the car careens up onto the sidewalk
and smashes into a brick wall.
Lifting his bloodied forehead, Conrad looks out and sees the
ubiquitous poster partially destroyed by the crash: "Strength
through purity, purity through faith."
INT. TRAIN CAR
Finch hears something and jerks back, almost falling out of
the car. Aiming his gun, he finds no one. He turns and
bolts.
As the sound of his footsteps fade, V steps out of the
shadows.
INT. NEW GOVERNMENT BUILDING
The Leader's Lieutenant looks up from his desk and sees Finch
rushing towards him.
FINCH:
Is the Leader in?
LIEUTENANT:
Yes, but he's meeting with the
Captain of the Guard.
FINCH:
Perfect.
LIEUTENANT:
Mr. Finch, you can't go in --
Finch charges through the doors.
INT. LEADER'S OFFICE
The Leader and his Captain turn.
LEADER:
Mr. Finch?
FINCH:
Leader, I need as many men the
Captain can spare and I need them
right now.
CAPTAIN:
What for?
FINCH:
EXT. CONRAD'S HOUSE
Creedy opens the trunk of his car. In the phosphorescent
glow of the streetlight, the set of knives gleam. He bundles
the costume that he tried to planet on Finch into his arms,
then slams the trunk.
Above, a window blind that was cracked open snaps shut.
INT. LEADER'S OFFICE
The Leader moves towards Finch.
FINCH:
He's underground. The old subway.
I know exactly what he's going to
do. If we move quickly, we can be
there, waiting for him.
INT. CONRAD'S HOUSE
Conrad waits, hidden inside a bedroom closet. He hears the
front door close and his grip tightens around the handle of a
long, steel-necked hammer.
INT. LEADER'S OFFICE
The Leader is steadily convincing himself of something.
FINCH:
Leader, every second we delay...
The Leader lifts his hand, silencing Finch.
LEADER:
I'm coming with you.
GUARD:
Sir --
LEADER:
There will be no discussion --
GUARD:
LEADER:
I am sick to death of this
terrorist being everywhere and
nowhere! I will judge whether Mr.
Finch is right and I will judge it
with my own eyes! Do I make myself
clear, Captain?
CAPTAIN:
Sir, yes, sir!
Finch is suddenly overwhelmed by a feeling that is common to
chess players. It is the disturbing sense that you have just
done exactly what your opponent wanted.
LEADER:
Is there a problem, Mr. Finch?
FINCH:
No... no sir.
LEADER:
Good. Captain, mobilize your men.
CAPTAIN:
Sir, yes, sir.
LEADER:
We'll find this bloody bastard and
we will finish him.
INT. SHADOW GALLERY
Evey sits in the gallery, reading Pynchon's "V" just as V had
done. She suddenly feels V watching her.
EVEY:
V?
V:
Yes.
Evey smiles as V steps out of the shadows.
EVEY:
V, what's going to happen?
V:
Change, Evey. That's all. Just
change.
EVEY:
Is it going to be violent?
V:
Yes, I suppose it will.
INT. CONRAD'S HOUSE
Creedy empties a bottom drawer, making room to hide the
costume. As he does, the closet door behind him slowly
creeps open.
INT. SHADOW GALLERY
V stands at the jukebox.
EVEY:
But why? Why must is be violent?
V:
Because, Evey, that is the nature
of change. She is a temperamental
creature that appears in earnest
rarely but, when she does, she will
wear one of two faces. The first
face is the destroyer. It is
lamentable but all true change
begins with death.
INT. CONRAD'S HOUSE
A dark figure stands over Creedy. The hammer raises, a slash
of silver against the velvety darkness.
INT. SHADOW GALLERY
V punches a button on the jukebox just as --
INT. CONRAD'S HOUSE
The hammer falls with a sickening soft crunch.
INT. SHADOW GALLERY
The song begins to play; a melancholy song that says goodbye
to love.
INT. CONRAD'S HOUSE
Blood pours down Creedy's snarling face, he snatches one of
V's knives as another hammer blow cracks through his collar
bone.
He screams, lunging at Conrad.
INT. SHADOW GALLERY
V listens to the song, the smiling eyes somehow knowing.
INT. CONRAD'S HOUSE
The hammer falls again and again until the metal head is
slick with blood and meat.
Conrad stumbles back, dropping the hammer. He looks down at
the hilt of the knife protruding from his stomach. He yanks
it out and holds V's knife which is bright red with his own
blood.
He collapses to the floor.
INT. SHADOW GALLERY
The song continues.
EVEY:
What is the other face, V?
V:
The other face? She is the true
face of change. The face of the
creator. She is the one that
remakes the world. Evey?
EVEY:
Yes, V?
V:
May I ask you for a favor?
EVEY:
Of course.
V:
It is a small thing but it would
mean a great deal to me.
EVEY:
Tell me.
V:
I've never danced before. I've
thought about it many times, here
in this room, listening to the
music. But I've always been alone.
Evey smiles and crosses to him.
EVEY:
It would be my pleasure.
He opens his arms and she steps into them. They dance,
standing very close, his gloved hand holding tightly to hers,
EXT. CITY STREET
Dozens of military vehicles swarm around the entrance to
Victoria Station while heavily armed men pour through the
gates of the underground.
INT. SHADOW GALLERY
The song ends.
V:
Thank you, Evey. You are an
excellent dancer.
EVEY:
All it takes is a little practice.
V:
Alas, I have run out of time.
He bows, pressing his frozen lips to her hand. Evey is
suddenly nervous.
EVEY:
V? What are you going to do?
V:
Don't you remember? I have a date
tonight, Evey.
EVEY:
You're coming back though, aren't
you?
She seizes hold of his hand.
EVEY:
V, I won't let you leave unless you
promise me that you will come back.
V:
Of course, I'll be back. You don't
think you can be rid of me now, do
you?
EVEY:
Just promise.
V:
I promise.
She lets him go.
INT. TRAIN STATION
Soldiers swarm through the station. Susan stares in shock,
outraged by the mere presence of the train.
LEADER:
Mark my words, Mr. Finch, this man
is going to become an example so
that every man, woman, and child in
this country will remember what
happens to those who would ever
think to stand against the state.
He turns to the Captain.
LEADER:
Captain, I need a gas unit down
here with enough nerve gas to fill
every rat-hole in these tunnels.
Suddenly the lights go out.
FINCH:
I don't think that will be
necessary.
The Leader smiles.
LEADER:
There are over one hundred of the
country down here. Let him come.
INT. TRAIN TUNNELS
Five soldiers creep forward in a tight formation, their
flashlights probing every nook and cranny.
Behind them, a secret passage opens and V steps out.
He is among them with frightful speed, a grinning dervish
with blades like metal fangs ripping and rending flesh,
slashing bright in the flashlight.
Other soldiers rush towards the screams and gunfire but they
find only five bodies and warm blood running down the walls.
LEADER:
Captain, what's happening?
RADIO (V.O.)
No sign sir. Repeat, no sign of
him.
CAPTAIN:
They lost him.
From the opposite end, there is another series of screams and
machine gun fire that lights up the dark tunnel for a moment.
Then, nothing.
FINCH:
This... this is a mistake.
LEADER:
Don't tell me you're a coward, Mr.
Finch.
Back in the tunnels, V drops from above, his cloak a swirling
cloud of squid ink that hides him in the darkness.
Again, quicksilver knives lash out, drawing fonts of blood.
INT. TRAIN STATION
Finch can feel the panic that is spreading through the
tunnel.
FINCH:
Leader, we have to get out of here!
LEADER:
This was your idea.
FINCH:
It was a mistake. This is what he
wants. He knows us, Leader. He
knows us too well. We have to get
out of here before it's too late --
A voice rings out from hidden speakers, echoing through the
tunnels.
V (V.O.)
Good evening citizens of London.
This is the voice of Fate. Your
fate...
LEADER:
What trick is this?
V (V.O.)
Tonight, the face of London is
going to change and I am going to
offer you the chance to change with
her. Your Leader is finished. He
will not leave these tunnels alive.
The Leader screams to be heard over the resonant voice of V.
LEADER:
This is an outrage! I order you
not to listen to this!
V (V.O.)
At midnight tonight, the Head will
be destroyed and a new era will
begin. You must now decide if you
are going to be a part of that era.
Everywhere, terrified soldiers listen to the voice.
V (V.O.)
You can choose to stay here and die
with your Leader or you can choose
to be free. The decision is yours
and yours alone.
LEADER:
Captain, order all your men to fall
back and secure this position!
V (V.O.)
Some of you have wives. Some of
you have families. All of you have
lives. Consider each of them as
you ask yourself, are they a part
of the past, or are they a part of
the future?
CAPTAIN:
Fall back. Fall back and secure
the central platform.
Deep in the tunnel, two soldiers look at each other.
Simultaneously, they drop their guns and run.
LEADER:
Any man that disobeys this order
will be court marshaled!
Groups of solders drop their weapons and disappear into the
shadows.
LEADER:
Captain! Captain, where are your
men?
The station fills with the sound of boots running wildly
away.
LEADER:
Goddammit, I will not tolerate this
insubordination! I want those
deserters shot, Captain.
Finch slowly draws back away from the Leader.
LEADER:
Shot on sight!
The few men on the platform are soon the only men left.
CAPTAIN:
You! You! Point position. We're
getting out of here! Now!
A knife sings through the air and buries itself in the
Captain's chest. With a tiny rasp, he falls to the ground.
The remaining men bolt.
LEADER:
Traitors! You cowards!
He grabs for the Captain's machine gun.
LEADER:
I know who you are! I'll see you
hang! Every last one of you!
"You" echoes down the dark empty throat of the tunnel.
The Leader looks around, his flashlight sweeping in big arcs
as he realizes that he is alone.
LEADER:
Finch? Finch! Finch, goddammit,
you can't leave me! Don't leave
me!
V:
You are going to die as you ruled --
The Leader screams, whipping around towards the voice.
V:
Alone.
The smile is as cold and as sharp as the knife that flicks
from his hand.
The Leader raises his gun just when the knife sinks into his
shoulder.
Howling in pain, he drops the gun.
LEADER:
Damn you! Damn you!
V smiles into the spot of his flashlight.
LEADER:
Conrad? Is that you? You're
working with Finch, aren't you?
And Creedy! You're all in this
together!
V closes in.
LEADER:
Who are you?
V:
You, most of all, should know,
Leader. You created me. Without
you, I would never be. More than
life, Leader, you gave me purpose.
V:
"He that killeth with the sword,
shall be killed with the sword."
V raises the knife.
LEADER:
Noooo!
FINCH:
Don't move!
V and the Leader turn to find Finch aiming a machine gun at
V.
LEADER:
Mr. Finch! Oh god, Mr. Finch!
FINCH:
Drop the knife.
V does and Susan begins an almost hysterical laugh.
LEADER:
Oh, I knew it, Mr. Finch. I knew
you wouldn't desert me. You're a
good man, Finch. A damn good man.
FINCH:
No, Mr. Susan. No, I'm not. I'm a
man who does his job and does what
he's told. For twenty seven years,
that's all I've been.
He steps toward V, staring into his smiling black eyes.
LEADER:
Careful, Mr. Finch. He's quick as
the devil.
Finch ignores the Leader.
FINCH:
I've read Delia's diary over and
over all year. It sickens me but I
am unable to judge her. I am as
guilty as she.
LEADER:
Mr. Finch, what are you doing?
Shoot him. Kill the bastard,
Finch.
FINCH:
I have no excuse. I did what I was
told to do.
LEADER:
Finch, I order you to shoot him!
Finch!
FINCH:
My job was to find you and catch
you. I've done my job. I've done
it for the last time. I'm tired of
it. I'm tired of it all.
He tosses the gun to the Leader.
FINCH:
Kill him yourself if you can.
The Leader seethes, his eyes boring into Finch.
FINCH:
Thank you, V. And goodbye.
V:
Goodbye, Mr. Finch.
The machine gun burst shatters the quiet concrete silence.
Finch falls dead at V's feet.
LEADER:
I warned you, Finch, the penalty
for treason is death.
He aims the gun at V.
LEADER:
Are you ready to die?
V:
The real question is, are you?
The Leader laughs.
LEADER:
Do you really believe you can pick
up that knife before I pull this
trigger?
V:
No. But I don't have to.
Almost casually, V bends down to pick up the knife --
Bullets knock V back a bit but he continues, grabbing the
knife and standing.
Eyes widening with disbelief, the Leader fires another blast
as V begins walking towards him.
The machine gun roars, bullets shredding out through the back
of V's cloak as he continues with short deliberate steps
until --
The hammer clicks against the pin. The gun is empty.
V:
You see? You cannot kill me.
There is no flesh and blood within
this cloak to kill. There is only
an idea.
V smiles.
V:
And ideas are bulletproof.
The Leader screams.
V drives the knife into his heart, killing him instantly.
V stands alone amidst the carnage and seeping pools of red.
His body wavers. He takes his hands out from beneath his
cloak and reveals his gloves, wet with blood.
INT. CONRAD'S HOUSE
The front door opens and Helen enters.
HELEN:
Creedy? Creedy, you dumb bastard,
you left your car parked in front.
She walks up the stairs to the bedroom.
HELEN:
What did I tell you? Creedy.
INT. BEDROOM
She steps into the room, her sole and heel sinking into the
plush carpet soaked with blood.
HELEN:
Oh my god.
When she sees Creedy's head mashed open, she covers her
mouth.
CONRAD:
Helen...
Conrad has propped himself against the bed.
HELEN:
Conrad! What have you done?
CONRAD:
I won, Helen. I did it. I won.
I'm the better man.
He crawls toward her, slipping on the wet carpet.
CONRAD:
We've been through a bad patch,
Helen. But now, he's gone...
There's nothing to come between
us...
He reaches for her foot, his hand gloved with wet red.
HELEN:
Don't touch me! You stupid piece
of sh*t! You've ruined it! I had
it all planned perfectly and you've
ruined it!
She checks her watch; two hours to midnight.
HELEN:
I have to get out of here! I have
to get away!
Conrad seizes hold of her ankle.
CONRAD:
Helen --
HELEN:
No! Let go! Now!
The look in his eyes frightens her. She tries to kick free
of him but he won't let go. Twisting, she reaches for the
door but slips on the carpet.
HELEN:
Conrad, damn you! Let me go!
CONRAD:
No, Helen, you're not leaving me...
not this time... not ever.
He crawls up her body still clutching the bloody knife.
HELEN:
No, please! Oh god, no! Oh god,
please help me!
Conrad raises the knife.
CONRAD:
No one can help us, Helen. God is
dead.
The knife falls.
INT. SHADOW GALLERY
Evey hears V on the spiral staircase.
EVEY:
V?
Scarlet footprints trail behind V as he struggles down the
stairs.
EVEY:
You came back.
He nods and then collapses, rolling down the rest of the
stairs.
EVEY:
V! V!
Running to him, she falls to his side. His clothes are slick
with blood.
EVEY:
Oh god, what happened?
V:
Evey...
EVEY:
You need a doctor.
V:
It's too late for that...
EVEY:
No, don't say that!
V:
Evey, listen to me. I've not long
and there are things that must be
said.
His voice strains beneath the mask.
V:
I have done that which I came to
do. Now, it is time for me to rest
and with me the past will, at last,
find peace.
Trembling, Evey holds him.
V:
But the world, the world is not
saved... Do not think that, when
the fires die and the smoke clears,
there is no miracle... there is
only a path... upon which they must
learn to rule themselves.
EVEY:
Yes, they need you, V.
V:
Not me, Evey, not me. I told you I
am the villain. The destroyer...
But yes, they will need help...
He reaches up and wipes a tear from her cheek.
V:
I kept my promise to you, Evey...
Now you must promise me.
EVEY:
What?
V:
Promise me... you will discover the
face under this mask... but you
EVEY:
I don't understand.
V:
Promise me. Please...
EVEY:
I promise.
V:
Sweet Eve. Wherever I shall go, I
shall always love you.
EVEY:
V, you are not going anywhere!
V:
Midnight... Midnight. Eve... Make
them remember...
EVEY:
You're not going to die, V!
V:
Let me be there, Evey, when it
begins... Please, let me hear the
music, one last time... my music...
EVEY:
I won't let you die!
V:
I know you won't... I know...
EVEY:
V!
V:
My love... Ave Atque vale...
Holding him as tight as she can, she feels his life drain
away, slipping through her arms in the way the last grains of
sand pour through the neck of the hourglass.
She buries her face beside his and weeps.
EXT. CITY STREET
An enormous crowd has begun to gather in the streets
surrounding the New Government Building. With the crowd, a
restlessness swells against each barricade erected by the
military.
A sergeant stands on an armored car, speaking through a
megaphone.
SERGEANT:
Return to your homes! There is
nothing to see! The terrorist is
dead!
RABBLE ROUSER 1
He ain't dead!
RABBLE ROUSER 2
He'll be here, just like he said!
INT. SHADOW GALLERY
Evey huddles against the stair railing, her face tear
stained, staring at the lifeless body of V.
EVEY (V.O.)
I remember... I remember staring at
the mask, at that smile.
She touches the mask, her fingers finding its edge.
EVEY (V.O.)
Part of me couldn't believe he was
dead and maybe that was why. The
smile was still the same.
It made me want to tear it off so I
could see the face, so I could see
that he was dead.
Her fingers stop.
EVEY (V.O.)
But I had promised.
V (V.O.)
You will discover the face under
this mask but you will never look
beneath it.
EVEY (V.O.)
I began to try to imagine his face.
Of course, I had long pictured my
father behind that smile but I knew
in my heart that V was not my
father.
Evey stares into the eyes, the dark, empty eyes.
EVEY (V.O.)
Yet every time I pictured another
face, any face, something was lost,
something important was somehow
diminished. V was more than a
face. V was V.
Her expression changes.
EVEY (V.O.)
And then, quite suddenly, quite
naturally, I realized whose face
must be beneath that mask. It was
the only face that mattered.
EVEY:
I won't let you die.
V (V.O.)
I know you won't... I know.
A small smile creeps across her face.
EXT. CITY STREET
Midnight approaches and the crowd feels it. Spilling
everywhere, they fill the streets like a flood.
INT. TRAIN CAR
Evey sets a final violet carson on the chest of V. He is
lying on a bed made of gelignite, covered in roses.
Touching his mask, she bends over him.
EVEY:
Goodbye, my love.
Tenderly, she presses her lips to the smile, her eyes
closing, her final tears blinking free.
She backs away and V smiles, his lips wet with her kiss, his
cheek wet with her tears.
EVEY (V.O.)
"Ave Atque vale."
On the train platform, Evey reaches through the window and
starts the train.
EVEY (V.O.)
I looked it up the next morning.
The wheels churn as the train lurches forward.
EVEY (V.O.)
"Hail and farewell."
V (V.O.)
"Make them remember..."
She watches the train disappear into the tunnel.
EVEY:
They will, my love. They will.
EXT. CITY STREET
The crowd surges against a barricade when a voice cries out
across the city echoing through the megaphone on every
corner.
EVEY (V.O.)
"Remember, remember, the fifth of
November!"
High above the gathered mass, a masked figure steps out onto
a roof parapet.
The crowd explodes.
INT. SUBWAY
The train barrels along, screaming against its rusted rails.
EXT. ROOFTOP
Dressed as V, Evey stands on the roof's edge, speaking into a
microphone.
EVEY:
I have come here tonight to keep a
promise. A promise that is over
four hundred years old. Tonight I
am here to give you your freedom!
Again, the crowd bursts into a frenzy.
EVEY:
Since mankind's dawn a handful of
oppressors have accepted the
responsibility over our lives,
responsibility that we should have
accepted ourselves. By doing so,
they took our power. By doing
nothing, we gave it away.
The voice booms over the mesmerized crowd.
EVEY:
Tonight, our world will change.
Our leaders will be gone and we
must choose what comes next. A
return to the chains of others or
lives of our own. A world of the
past or one of the future.
She feels the sea of humanity beneath her, almost channeling
their energy.
EVEY:
Let us choose carefully, London,
and when we do, let us mark well
and remember, remember this fifth
of November!
The crowd screams as one and their scream becomes --
INT. SUBWAY
The train hurling like a bullet through a gun barrel. Ahead
the tracks end, buried beneath the rubble of the collapsed
tunnel.
INT. TRAIN CAR
Inside the rattling train, V lays in perfect repose.
V (V.O.)
Let me be there, Evey, when it
begins...
EXT. ROOFTOPS
Hidden and alone, Evey pulls the mask from her face.
V (V.O.)
Please let me hear the music... one
last time... my music.
Almost unconsciously, Evey raises her hand and coaxes the
first soft notes as he had once done.
V (V.O.)
At first, you have to listen
carefully.
The violins of the 1812 overture steadily rise.
V (V.O.)
Ah, yes. There it is. Beautiful,
is it not?
Evey smiles, her hand still gently conducting.
EVEY:
Yes, my love. Yes it is.
INT. SUBWAY
With the clash of cymbals, the train crashes into the wall of
rubble.
EXT. NEW GOVERNMENT BUILDING
The entire building opens like a time-lapsed rose blooming
with brilliant orange petals of flame.
EXT. CITY STREET
The crowd is awash in the baptismal glow of erupting flame.
EXT. ROOFTOP
Evey watches the explosion, a star-burst of flaming debris
searing against the night sky like fireworks.
EXT. CITY STREET
The masses burst through the barricades with a euphoric
frenzy.
EXT. ROOFTOP
The explosion begins to slowly die.
EVEY (V.O.)
I know that there is only one way
to repay him for what he did.
She looks down at the mask.
EVEY (V.O.)
And I know that that way is going
to take a lot of hard work.
She smiles.
EVEY (V.O.)
I know this like I know the sun
will rise tomorrow and beneath that
new sun, our work will begin.
The fire fades and Evey turns, cradling the mask, and walks
away.
FADE OUT.
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Submitted on May 28, 2017
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"V for Vendetta" Scripts.com. STANDS4 LLC, 2024. Web. 21 Nov. 2024. <https://www.scripts.com/script/v_for_vendetta_1142>.
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